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My Wife
Esther Williams
By Ben Gage

Ob3o8ons a 5» |

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UNDIES • SLIPS • GOWNS

BLUE SWAN MILLS, Division of McKay Products Corp.
350 Fifth Avenue-, New York 1, N. Y.

A McKAY PRODUCT
Pat. App. for

im.%

By Sonia Lee

yys the towers of Manhattan
gleamed in the morning sun,
Clara’s hopeful young heart pounded
with eagerness and expectation.
“What a beautiful city!” she
thought. “My city to be!”

There would be so many fascinat-
ing places to see ... so many famous
people to meet . . . such an interest-
ing job in one of the big studios. And,
of course, a wonderful man whom
she would some day meet and marry .

The vast catacombs of brick and
mortar held no terror for her what-
soever. With her courage, her ability ,
her looks, how could she fail? As the
train shot into the tunnel she took a
last look at the tall buildings, now
warming under the rising sun.

“It’s my oyster, my great, big,

beautiful oyster! And I m the one to
open it.”

At first, things seemed to go beau-
tifully. She did meet a few famous
people . . . but they didn t see her a
second time. She did land a good job
. . . but somehow it didn t last. And
she did meet the dream man . . . but
he didn’t last, either.

Poor little, cute little Clara! She
had every charm but one’'. But with-
out that one charm it is pretty hard
for anyone to get by for very long. The
cuter they are the harder they fall.

In romance as in business, hali-
tosis* (unpleasant breath), whether
chronic or occasional, can be three
strikes against you. The insidious

ILLUSTRATED BY JACK KEAY

thing is that you, yourself, may not
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Listerine Antiseptic, and instantly
your breath becomes sweeter, fresh-
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omit this extra careful precaution be-
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While some cases of halitosis are of
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halts such fermentation, then over-
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Don’t be
Half-safe!

VALDA SHERMAN

At the first blush of womanhood many mys-
terious changes take place in your body. For
instance, the apocrine glands under your
arms begin to secrete daily a type of perspi-
ration you have never known before. This is
closely related to physical development and
causes an unpleasant odor on both your per-
son and your clothes.

There is nothing "wrong" with you. It’s just
another sign you are now a woman, not a
girl ... so now you must keep yourself safe
with a truly effective underarm deodorant.

It also stops perspiration and so protects
against a second danger— perspiration stains.

Since physical exertion, embarrassment and
emotion can now cause apocrine glands
to fairly gush perspiration, a dance, a date,
an embarrassing remark may easily make
you perspire and offend, or ruin a dress.

All deodorants are not alike — so remember

— no other deodorant tested stops perspira- *
tion and odor so completely yet so safely as
new Arrid. Its safety has been proved by
doctors. That’s why girls your age buy more
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be used right after shaving.

PHOTOPLAY

Contents for January 9 1949

HIGHLIGHTS

Second Chance to Win Photoplay’s Industry Engineered

Dream House

Diamonds and Diapers (Lana Turner) Louella O. Parsons

Why I’m Not Afraid to Marry Wanda Hendrix Audie Murphy

Easy to Love (Esther Williams) Ben Gage

Muscles, Magnetism and Menace Dorothy Kilgallen

I’m Hollywood’s Cinderella Joan Evans

Moving Day Barbara Stanwyck

Full House

It Will Be a Grand New Year in Hollywood IF . . , Sheilah Graham

Power’s Progress Elsa Maxwell

Difficult — That’s Me Glenn Ford

It’s Offi ce Party Time . . . . Kay Mulvey

Hollywood Tour (Paramount c’n ’!os)

Her Divided Heart (Betty Grab e) Angie Blue

Focus on Fun

Play Truth or Consequences with Ronald Reagan Ralph Edwards
Star in Your Home Mitch Leisen

’49 Fashion Steps Edith Givynn

Your Photoplay Photo-Plays (June Allyson — Fence Juniper)
Photoplay Fashions

FEATURES IN COLOR

Wanda Hendrix

Peter Lawford

Howard Duff

Barbara Stanwyck

Richard Widmark

Glenn Ford

Gregory Peck

Paramount Studios

.... 44

Montgomery Clift

Betty Grable

Farley Granger

Dorothy Hart .

Doris Day

SPECIAL EVENTS

Beauty Spots

Laughing Stock

Bendix and the Babe . .

Platter Patter ...

.... 4

Brief Reviews . .

Readers Inc.

Casts of Current Pictures

Shadow Stage

Inside Stuff — Cal York

What Should I Do?

Cover: Esther Williams, star

“Take Me out to the Ball

Game”

Natural Color Portrait hy Paul Hesse
Design by Otto Storch

Fred R. Sanimis, Editorial Director
Ruby Boyd, Managing Editor
Alice Tiller, Assistant Editor
Rena D. Firth, Assistant Editor

Adele Whitely Fletcher, Editor
E. Davenport, Executive Art Director
Deli Hoffman, Associate Art Director
Mary Jane Fulton, New York Beauty Editor

Beverly Linet, Assistant Editor

Ann Daggett, Hollywood Editor
Frances Morrill, Hollywood Managing Editor
Sara Hamilton, Associate Editor
Ruth Waterbury, Contributing Editor

Hymie Fink, Photographer
Sterling Smith, Photographer
Betty Jo Rice, Asst. Photographer
Maxine Arnold, Contributing Editor

Don't be half-safe. During this "age of ro-
mance” don’t let perspiration problems spoil
your fun. Don’t be half-safe— be Arrid-safe!
Use Arrid to be sure. Get Arrid now at your
favorite drug counter — only 39f plus tax.

(A dvertisement)

★ ★ Jr

JANUARY, 1949 VOL. 34. NO. 2

PHOTOPLAY, published monthly by MACFADDEN PUBLICATIONS, Inc.. New York, N. Y. General Business, Editorial,
and Advertising offices: 205 East 42nd Street, New York 17, N. Y. Hollywood-Beverly Hills Office: 321 S. Beverly
Drive, Beverly Hills, California. O. J. Elder, President; Harold Wise, Executive Vice President; Herbert G. Drake, Vice
President; Joseph Schultz, Vice President; Ernest V. Heyn, Vice President; Meyer Dworkin, Secretary and Treasurer;
Edward F. Lethen, Advertising Manager: Charles O. Terwilliger, Jr., Eastern' Advertising Manager. Chicago Office:
221 North La Salle St., Leslie R. Gage, Mgr. San Francisco Office: 1613 Russ Building, Joseph M. Dooher, Mgr.
Los Angeles Office. Suite 908, 649 South Olive St., George Weatherby, Mgr. Reentered as Second-Class matter,
May 10, 1946, at the Post Office at New York, N. Y'., under the act of March 3, 1879. Subscription rates: U. S. and
Possessions and Newfoundland $1.80 per year. Canada $3.00 per year. All other countries $4.00 per year. Price
per copy, 15c in the United States, 25c in Canada. While Manuscripts, Photographs and Drawings are submitted
at the owner’s risk, every effort will be made to return those found unavailable if accompanied by sufficient first-
class postage and explicit name and address. But we will not be responsible for any loss of such matter contributed.
Contributors are especially advised to be sure to retain copies of their contributions, otherwise they are taking an
unnecessary risk. Copyright 1948, by Macfadden Publications, Inc. All rights reserved under International Copyright
Convention. All rights reserved under Pan-American Copyright Convention. Todos derechos reservados segun
La Convencion Panamericana de Propiedad Literaria y Artistica. Title trademark registered in U. S. Patent Office.
Member of Macfadden Women’s Group.

All foreign editions handled through Macfadden Publications International Corp., 205 East
42nd Street, New York 17, N. Y. Carroll Rheinstrom, President; Douglas Lockhart, Vice-President,

The contents of this magazine may not be reprinted either wholly or in par without permission.

Printed in U. S. A. by Art Color Printing Co.. Dunellen, N. J.

f SENE KELLY

IVt-Gr'M presents ‘V.^

a spectacular musical, packed with the beloved hits of the
famed song-writing team of Rodgers and Hart;
their own story, with all the adventure, romance,
high life of the Great White Way.

JUDY &ARLAN

JUME„ALLYSON

ERfY COMO

'iCKEY ROONEY

color by

TOMDRAHE-CYD CHARISSE • BEITV GARRETT- JANET LEIGH
MARSHALL THOMPSON - MEL TORME* VERA-ELLEN

'kluiUal ViAed&L bti "Oi Aecfet by ’BuyduceJ by

ROBERT ALTON NORMAN TAUROG ARTHUR FREED

Based on The Lives and Music of RICHARD RODGERS and LORENZ HART

LENA HORNE

I Wish I Were In Love Again
Mountain Greenery
Where’s That Rainbow
A Tree In The Park
i A Little Birdie Told Me So
Slaughter On 10th Avenue
Johnny-One-Note

Screen Play by
FRHD FINKELHOFFE

\ Story by
GUV BOLTON and!

jeaN hoLloway

k Nkdcifrtgtlon by***
BEN FEiRTOT. .

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By Lester Gottlieb

HAMLET: Victor-Red Seal offers a
supreme treat; stirring excerpts from
this "must” movie with the brilliant
Laurence Olivier as The Melancholy
Dane.

GENE KELLY: The imaginative star
demonstrates the various styles of
such song-and-dance men as George
M. Cohan, Fred Astaire, Pat Rooney,
George Primrose, Bill Robinson and
Eddie Leonard, in a cavalcade of as-
sorted rhymes, clogs and taps that’s a
dilly. (M-G-M)

DANNY KAYE: A new Decca al-
bum features the carrot-top in a
grouping of Gilbert and Sullivan pat-
ter songs. Incidentally, "A Song Is
Born” has the waxworkers busy. The
ageless Louis Armstrong handles the
title song with an assist from another
jazz great, Jack Teagarden. The Page
Cavanaugh Trio check in with the
catchy "Daddy-O.” (Victor)

WHEN MY BABY SMILES AT ME:
This has two song items geared for the
hit class. Listen to Dinah Shore (Co-
lumbia) sing "What Did I Do?” and
baritone Art Lund (M-G-M) click
with "By the Way.”

SO DEAR TO MY HEART: The
new Disney feature comes through
with two fine melodies, "Lavender
Blue,” a cute jingly conceit, and a
straight ballad title tune. Dinah
Shore sings both of them (Columbia)
but practically every other recording
artist has done one or the other.

THE NIGHT HAS 1,000 EYES:
Now it’s Vic Damone (Mercury) who
turns in a slick performance of the
title tune.

David Rose has a
lush collection of
"Serenades” put to-
gether by M-G-M . . .

A grouping of Russian
folk melodies unfolds in a
new Columbia album conducted by
Marek Weber . . . Philip Greene and
his orchestra play an albumful of fa-
miliar classical melodies that the whole
family should enjoy. Called "Family
Album,” it includes such standards as
"Elegie,” "Barcarolle” and "Souvenir”
. . . Prokofieff’s "Classical Symphony”
is elegantly treated by Serge Kousse-
vitzky and the renowned Boston Sym-
phony for Victor-Red Seal.

EDMOND O'BRIENROBERT STACKJOHN ROONEY-RA0UL WALSH-SETON I.MILLER

withTQM D’ANDREA • HENRY HULL written by SETON I. MILLER Additional Dialogue by Martin Rackin Music by Max Steiner

PRESENT

in the

WITH WINGS
ON THEIR
HEARTS
BRING A

ROARING
NEW TBRILL
TO YOURS !

WARNER
BROS.

s new glory in the air
and this is the story
that tells of it -with
the flyin’-est, fun-lovin’-est
Yankee Doodle daredevils
the adventure-screen
has v^ '

Its SO LONS B
SINCE IVE HAD A DATE,
[ FEEL POSITIVELY
DATED. I'D RATHER
MAKE HISTORY FOR
A CHANGE!

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LATER-Thanks to Colgate Dental Cream

after you eat and before every date

What Should I Do ?

YOUR PROBLEMS ANSWERED
BY CLAUDETTE COLBERT

DEAR Miss Colbert:

I’m seeking some good psychology to
use on my husband-to-be. I’m not
going to ask you should I break with him
now, because I’d drop dead if you an-
swered “Yes.” He’s a wonderful guy, just
swell to me, but he’s very serious-minded.
I’m afraid he is so serious that he may
scare away all our friends. He kids with
me when we’re alone, but when we go out
he seems to be afraid to “cut up” or let
himself go and have a good time. What I
want is some new psychology to get him
out of this continued seriousness without
criticizing or nagging. Altona C.

The psychology I am going to suggest
is aimed, not at your fiance, but at you.
In order to take the first step toward hap-
piness, husband and tvife must admit that
each is a separate individual, each dif-
ferent and each entitled to be different.
What is natural and easy for you might
well be impossible for your fiance. Fur-
thermore, since you are gay and light-
hearted, I should think you would de-
light in the contrast of your serious fi-
ance. Here is one other thought and an
important one: In years to come you
will have reason to be grateful for his
seriousness. A clown is fun for two hours
at a circus, but I don’t believe you’d find
him quite as funny after a performance
lasting two weeks. Try the “old” psychol-
ogy of permitting every human being to
be himself and your chances of a happy
marriage will increase greatly.

Claudette Colbert

Dear Miss Colbert:

I am twenty-four and an accountant by
profession. I think my problem is rest-
lessness. I am not too crazy about the
opposite sex and have yet to find a girl I
could really love. I am terribly choosy
about my friends but I always seem to be
able to get a date because I dance, swim,
play tennis, and spend money extrava-
gantly. Out of the number of girls I meet
and date, I can’t stay interested in one
more than a few weeks. I hope you don’t
think I’m conceited, but I’ve been reading
your column for a long time and finally
felt impelled to state the man’s side of
some of these cases. Take me: I date a
girl and the first thing I know she is ask-
ing me what kind of furniture I like, how
many children I think a couple should
have, and so forth. A man goes out for
laughs and fun; a girl goes out on the
wedding ring prowl. I’d like to fall in
love and establish some sort of security,
but I’m not positive I’m right in my job
yet and I don’t like to be pushed into com-
mitting myself, which is what most girls
try to do. Do you think a guy of twenty-
four is crazy if he says he doesn’t want to
marry until he is around thirty and then
wants to pick out a girl who knows some-
thing beside the name of every band leader
in the business and the latest slang cliche?

John J.

I gather that you have your opinions,
but you are half afraid that they are not
popular opinions, so you feel you should

almost be ashamed of them. Nonsense.
From the letters I receive, I have con-
cluded that frequently a girl is inclined
to maneuver a man into a position from
which he cannot “ with honor” withdraw.
I think you are tvise, since you feel no
job security and since you are tormented
by a type of emotional restlessness, to
avoid entanglements. Also, I think many
of my readers will be enlightened con-
siderably by your suggestion that a pros-
pective wife should be more homemaker
than party girl.

Claudette Colbert

Dear Miss Colbert:

I am thirty-five years old. I look younger
than my years, but I am a broken-hearted
and lonely woman. I have one brother
and one sister, both married, but it has
been understood in the family that I would
remain at home with my mother and
father, both of whom are in excellent
health. If I attempt to go out with girl
friends more often than once a month,
Mother makes a fuss. When I have a date
with a man, Mother is pleasant during his
first two or three visits, then she becomes
unbearable. Two years ago I met a fine
man who took an immediate interest in
me. We started to go steady after three
dates, but at the end of two months Mother
was so terrible that I couldn’t have him
call for me at my home. She would criti-
cize me, make fun of my appearance, point
out all my faults, always laughingly, of
course, as if it were a joke. I began to
meet this man at the home of a girl
friend and for several months things went
along quite well. However, once in a
while he would say, “Your voice sounded
like your mother’s,” or “I think you resem-
ble your mother more than your father,”
or some such thing. Finally he stopped
calling me. He was transferred and I re-
ceived a letter from him occasionally. In
one he said he wished he had met me
away from my home town; he thought it
would have made all the difference be-
tween us. I knew what he meant. Last
night I received an invitation to his wed-
ding. I am sure that I would have been
the bride at his wedding if it had not been
for my mother. When those who should
love one and want only the best, seem
to be enemies, what can a woman do?

Louella P.

More crimes are committed in the
name of “ mother love” than one can
imagine. Yours, however, is a fairly easy
case because both of your parents are in
good health. The situation is heartbreak-
ing. indeed, when a mother is ailing and
a child can take no definite action. You
should begin to make a life for yourself.
If you possibly can, try to find an apart-
ment and invite your girl friends and
eventually your boy friends to your own
home. Simply strike out for yourself and
refuse to listen to all the criticism, which
will inevitably result. At thirty-five you
can make a good life for yourself if you
will show some spirit; in five years it may
be too late.

Claudette Colbert

( Continued n-n page 8)

)p.m.

dated

Sp.m.

dined/

. .what now, little
girl, what now/

BUT^j^ (mwcli later)

—they just couldn't

Say goodnight f. .

'^/i

esy-
00 -film 1 w

IOO min

Now you can
see what really
happens when
the boss is
"in conference!"

j? f
fci s«

big- ml

parade
°f ,

Secs!

witk RUDY VALLEE • FLORENCE BATES -ALAN MOVVBRAY
GALE ROBBINS- IRENE RYAN- GRADY SUTTON -Produced by LEO C.POPKIN

Written and Directed by CHARLES MARTIN • A Harry M. Popkin Production ■ Released thru United Artists

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( Continued from page 6)

Dear Miss Colbert:

I am now sixteen and in the tenth grade.
I have an older sister who had to get mar-
ried when she was fourteen. The people
in this little town have named her “bad
girl.” Because of this I have no real
friends. My sister doesn’t even live here;
she moved away during the war, but when
I walk down the street people look me
over and I know they are thinking, “There
goes that bad girl’s sister.” I have tried
to make nice girl friends, but when the
mothers find out who I am, they forbid
their daughters to go with me. The odd-
est thing of all is that my sister is now
very happy, her husband is successful and
they have a pretty little daughter. I am
glad for her, but sometimes I feel as if I
am paying for her mistake and it doesn’t
seem fair.

Edith M.

I ou inusn’t jump to conclusions that
people are talking about you; ninety per-
cent of the time people talk only about
themselves. So dismiss from your mind
the fear that you are being called names
when you pass dotvn the street. You
should look out upon the world instead
of feeling that it is scowling upon you.
Don't waste your energies in self-pity.
Keep busy , keep your mind active. If the
mother of one girl is so stupid as to rule
you out as a companion, turn your atten-
tion to another girl. Remember always:
!\'o one can hurt you emotionally except
yourself. You can refuse to be hurt.

Claudette Colbert

Dear Miss Colbert:

My husband and I both love children, so,
before we were married, we discussed
having a family and decided that we
wanted at least four youngsters.

However, we had been married nearly
five years before our first child came along.
Because my husband is an attorney, he
made great plans for having a son to follow
in his footsteps and to inherit the business.
Our son was born prematurely, but he
seemed lusty and strong. My husband and
I were in the height of our glory until we
discovered that the baby was blind. Spec-
ialists have warned us that until medical
science progresses far beyond its present
stages, nothing can be done. Meanwhile my
husband has grown morose. He refuses to
have anything to do with the boy and can
scarcely bear to be in the same room with
him. To me, my husband is distant and in-
different, although the doctor has assured
him that the baby’s blindness is not my
fault. An added problem is that the doc-
tor does not think it would be wise for
me to have another child. I have been
thinking of divorcing my husband, accept-
ing his financial help until our boy is old
enough to be left with a good nurse-
teacher, then striking out and building a
new life for my son and for me.

If I could reach my husband by tears,
by reasoning, by some appeal, I wouldn’t
be so desperate, but he simply walks out
of the house when I try to discuss our
situation. There is no other woman; his
friends have told me that he works at his
office until all hours of the night and ac-
cepts the most difficult cases, and they
advise me to persuade him “to take it
easy.” He won’t listen.

(Mrs.) Rosamond F.

You must not for an instant believe
that your situation is hopeless, for with
courage you tvill be able to hold your
family together. For the sake of your
son, you should start at once to take in-
struction at some institution which spec-
ializes in preparing the sightless for a
contented and a useful life. There are

such institutions in every large city in
America. Ask your doctor to direct you
to such a foundation, so that you will be
equipped to speed your son's progress.
Probably you have not fully understood
your husband's nature, even during the
pre-parenthood days of your marriage.
I suspect that your husband is a man to
whom pride is everything; pride in him-
self as a man, in his family, in his profes-
sion. Pride can be a splendid thing, but
it can also make a man bitter and cruel,
unless it can be turned to useful purpose.
What you must do is to make your hus-
band proud of his ability to aid his son;
flattery may turn the trick.

Finally, you must not despair of having
another child or children. If your mind
can be set at rest about the development
of your son, your physical condition
might improve enough to surprise your
doctor.

Claudette Colbert

Dear Miss Colbert:

I have a baby daughter who is causing
me much concern. You see, I keep wonder-
ing what would happen to her if I should
die. Suppose my husband should marry
again; would the woman he chose bring
up my daughter the way I’d be proud to
have her grow up? The thought frightens
me and is always uppermost in my mind.

I brought the subject up at dinner one
night but didn’t get much consolation. My
husband said merely that if anything hap-
pened to me he would have his mother
rear our little girl. That was the last straw.
To bring her up in the environment of my
mother-in-law’s home would be something
I could not bear to think about. Perhaps I
should explain that I am in the best of
health. I am only twenty-three but I think
things of this nature should be planned in
case of accident.

Denise C.

Your state of extreme anxiety is not
unusual for the new mother of a first
child. You love the baby to distraction
and so you are calling up horrors with
which to worry yourself. You should
talk quite frankly to your doctor. Re-
member that any woman who is torment-
ed by such anxieties as you have de-
scribed may not have regained her
strength following the birth of her baby.
Also, remember that the things we fear
almost never happen. The world is es-
sentially a warm and friendly place and
the welfare of children is dear to the
heart of God. Talk to your doctor and
then renew the faith within your own
heart.

Claudette Colbert

ittU — 1 1

Have you a problem which
seems to have no solution?
Would you like the thought-
ful advice of

If you would, write to her in
care of Photonlav. 321 S.
Beverly Drive, Beverly Hills,
Cal., and if Miss Colbert
feels that your problem is of
general interest, she’ll consid-
er answering it here. Names
and addresses will be held con-
fidential for your protection.

==^rrrry

DREW

RAY COLLINS -EDGAR BUCHANAN - JEROME COURTL AND - JAMES MILLICAN

Screenplay by ROBERT D. ANDREWS and BEN MADDOW

Directed by HENRY LEVIN - Produced by JULES SCHERMER

INSIDE STUFF

Ca£ Yoikd GtMtp 0^

Around Town: Jane Wyman and Lew
Ayres continue to see each other but
not so often in public . . . The advice on
infant care given over the telephone by
Shirley Temple to Jane Withers, whose
baby is a year younger, is something
to hear. It took motherhood to estab-
lish a real friendship between Shirley
and Jane who were once screen rivals
. . . Marie McDonald, pretty as a pic-
ture in her polka-dotted frock, planted
“The Body” in a booth beside Cal at
Romanoff’s, softly singing the chorus of
“Nature Boy.” It expresses Marie’s
philosophy, she says, of “just to love
and be loved,” which may be an expla-
nation of her radiance these days . . .

Why You Fan, You: Hollywood per-
sonalities receive a great variety of fan
mail, some of it flattering and some
critical. Cornel Wilde passed on to his
friends, one he recently received which
reads: “Dear Cornel: I see all your pic-
tures and like you very much. You are
my very favorite star. So I wonder if
you will send me on any scraps of film
that have been cut from your movies.

I have gophers in the front yard and if
I burn the film in their dugouts, they
will die. Thank you very much.” Cornel
can’t make out whether to be flattered
or sore.

The No-Tie Boy: When the Van John-
sons telephoned the much sought after
Montgomery Clift to invite him to a
dinner party, the town’s newest rave
hesitated. “It’s okay,” Van assured him,
remembering his own bachelor days
with their flood of invitations, “just
telephone us when you decide.” The
next day Monty phoned back. “Look, I
want to come,” he said, “but the truth is
I don’t own a tuxedo.” Evie assured him
it would be quite all right to borrow one
from his studio, where they were al-
ways ready to help out. An hour or two
before the party was scheduled, Monty
phoned again. Again Van remembered
the old days when he had telephoned
last regrets to a hostess and thought to
himself, “my social blunders are now
catching up with me.” But he was
wrong. Monty merely called to say he
had the tux but had forgotten the tie.

So, at their insistence, he came early
and wore one of Van’s black ties. Inci-
dentally, Clift comes from a family of
affluence where black ties have never
been a problem. But he is so little inter-
ested in the social side of Hollywood
and so sincere in his career, all else goes
by the board.

A Loper Party: Hollywood’s famous
designer, Don Loper, knows how to give
a charming and interesting party with
just the right groups of people. One
week the Italian artists will gather,
with Rossano Brazzi and Valentina Cor-
tessi present to lend interest, and the
next week the English and Americans
will be present. At one of Don’s recent
gatherings we watched the way Greer
Garson repeated Buddy Fogelson’s sto-
ries, with a real pride in her man. Bud-
dy never leaves her side and between
these two there’s a wonderful unspoken
but definite flow of understanding.

Incidentally, Greer is the only woman
we know who would dare wear a bright
x’ed dress that makes her own red hair
an odd oi’ange color by contrast.

When Jean Peters went to the Los Angeles County
Fair she sampled everything — including floss candy!

Three for the show-ing of “Apartment for Peggy”: Dan Dailey,
with wife and Barbara Lawrence, turns that big grin fan-wards

Chit Chat: Seems odd to see sedate
and serious-minded Ronald Reagan
courting pretty girls all over again. His
latest at Mocambo was pretty Shirley
Ballard . . . The actor that astonishes
other actors the most is Burt Lancaster
who is not only a screen sensation but
is co-producing his own. Fear that it
can’t last prompts Burt to get going, a
fear that he shouldn’t have bought a
new home or car lest all will be over to-
morrow; a fear that keeps him from
basking or relaxing for a moment. And
he with those face, them voice, those
force yet! Other actors should please
note . . . Audrey Totter admits she’s in
love with writer Charles Grayson but
Cal believes Audrey too career-minded
for marriage at the moment. . . .
Ask the paralytics in the local
Veterans’ hospitals where Susan Peters
spends most of her time and watch their
faces light up . . . Our vote for the
soundest marriage in town goes to Joel
McCrea and Frances Dee, who subor-
dinated her career to marriage. They
live away from the Hollywood whirl
on their secluded ranch and love it.

Howard Duff and Ava Gardner corner comedienne Kay Thompson at Beverly Wilshire
party. For Danny Kaye’s scream-impersonation of Kay at her best, turn to page 50

A bit of all right! IMaureen
O’Hara and Dana Andrews
gave Londoners and this Buck-
ingham Palace guard a preview
of their nineteenth century cos-
tumes for “Affairs of Adelaide’’

INSIDE

STUFF

There’s a new look to Shirley Temple — but it’s not just husband John Agar
that’s causing it — it’s the new shortie hob the junior missus is wearing

Breakdown — from happiness: Jane Wyman
was overwhelmed by congratulations she re-
ceived from Rosalind Russell and other stars
for her performance in “Johnny Belinda”

Floored — by their director Robert Sinclair, Ty Power and Gene Tierney
rehearse a love scene for their latest film, “That Wonderful Urge’’

A lady with a mind of her own, Judy Donlevy doesn’t need coaching to know the best move in checkers.
Daddy Brian and Walter Pidgeon take the beating like the soldiers they are for “Command Decision” roles

Star Tour: It occurs to Cal that the
place to see stars is the fur shop of A1
Tietelbaum in Beverly Hills. Not a day
goes by but some star, and often a half
dozen a day, will be found trying on
Al’s luscious stoles or coats. Recently
we spotted Loretta Young, with her hus-
band Tom Lewis, replacing the coats
that Loretta lost when her home was
robbed. Next day Dorothy Lamour was
trying on mole jackets and the follow-
ing day it was Greer Garson, Mrs. Jack
Benny, or any of a dozen others. What
a Cook’s Tour for the fans, if only they
knew. Speaking of shops, we dropped by
the swank hat shop of Rex, with a sweet
young thing, to suddenly come face to
face with Garbo, who still remains the
mysterious but adored idol of the stars
themselves. The actress was having her
old felts reblocked, if you please. At the
Girls’ Soft Ball games in Burbank, one
can always spot Jack Carson, Dennis
Morgan, Dan Dailey and many other
Valleyites, while at the Westside mar-
ket on the Strip, it’s a most unusual day
not to find three of four of filmdom’s
great and some of them males, with
their shopping baskets on their arms.
So, it’s all in knowing where to look, we
suppose, if it’s stars you want to see in
Hollywood.

The Flynns: The unpredictable Flynns
are at it again, with their family spats
and misunderstandings, making news-
paper copy. A pity it is, too, for they
are deeply attached to each other and
their two little girls, Diedre and Rory.

The contention seems to lie in the de-
sire of Errol, who has sown a mean oat
in his day, to live the quiet life and the
yen of Nora, who was married so young,
to find pleasures more compatible to her

Too sad to shine at the "Johnny Belinda” showing, Ronnie Reagan made
a smiling come-back later, when he dined out with singer Dorothy Shay

INSIDE STUFF

twenty-five years. Too, the several years
Nora lived with her parents and baby
Diedre after her marriage, while Errol
played solo in his hilltop home, served to
provide a basis for their future incompat-
ibilities. Nora had independently gone
her way while Errol went his. When
Errol finally urged Nora to join him in
his own home with their two children, it
was too late for readjustments. But they
tried and tried hard. After a more than
hectic spat, Nora decided on a trial sepa-
ration despite Errol’s pleas. Evidently
the lady had had enough and nothing
could dissuade her.

Bits and Pieces: It looked like Moth-
er’s Day on the Fox lot recently when
Ann Sothern with her little daughter
Patricia, Jeanne Crain with her small
son Paul and Linda Darnell with baby
Lola all visited the studio on the same
day . . . Rory Calhoun takes turns with
the cooking which makes his little bride,
Lita Baron, very happy . . . Bets are that
Bob Taylor won’t make those three con-
secutive pictures in England. His wife
Barbara Stanwyck may be the reason.
Bob doesn’t care to be apart from Bar-
bara a whole year.

About Bob: There’s been a lot of talk
about Bob Walker lately. And no one
feels worse about it than Bob. He has
been unhappy these last few years. It
is rumored he’s still carrying a torch
for his ex-wife Jennifer Jones. How-
ever, Bob is too intelligent a young-
man to believe the answer to any prob-
lem can be found in a bottle. The trouble
is that Bob takes off to his beach house
to brood and finally deliberately goes on
the town — to get away from himself and
his troubles. He is always filled with
remorse afterwards. Bob does not drink
consistently and even two or three cock-
tails are too much for him. We hope he’ll
straighten out and become the Bob
Walker of old.

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Ginger Again: The feud between Gin-
ger Rogers and Judy Garland is said to
have started when Judy paid a courtesy
visit to the set of “The Barkleys of
Broadway” to visit Fred Astaire, a good
friend, and to pay her respects to Ginger
who took over the role Judy was unable
to play. But instead of being cordially
received, Judy is said to have been asked
to leave by Miss Rogers. Whether these
are the facts or not, Cal can judge only
by a similar experience several years
ago when Cary Grant invited us to visit
him on his set. His co-star was Ginger.
After greeting us, Cary asked us to be
sure to wait until after the next scene
as he wanted to’ chat. While Cary was
discussing some piece of action, we
were requested to leave at once, after
Miss Rogers’s stooge had talked to the
assistant director. Pandemonium broke
loose in the studio when Cary discovered
what had taken place. The publicity di-
rector was called by the frantic actor
who wanted to know what had happened
to his guest. Learning that we had been
requested to get ourselves out of sight,
he personally expressed his chagrin. So,
if the same treatment were accorded
Judy, a star on her lot, by a borrowed
actress, we know exactly how she feels.

A Day with Gable: It was a drizzly
Sunday when Clark Gable invited Cal
out to his Encino ranch for the day and a
potluck dinner. With the logs from the
fireplace sending out cheerful warmth

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over the brightly beautiful room, we
found ourselves relaxing in the pleasant
glow and the quiet, sure strength that
emanates from this man. Whatever goes
on in his own heart and soul no one will
know. But that he has achieved the thing
Hollywoodites claim to want most, an
inner peace that comes from a quiet
mastery over circumstances, there can be
no doubt. In brown riding breeches and
brown turtle-neck sweater, he’s quite
a figure of a man. After a wonderful din-
ner, Clark helped clear off the table to
make it easier for the one servant who
was there that day. Simply and quietly,
he lives from day to day. He makes no
compromises with ideals, let loneliness
or any of its plaguing attributes have at
him through the years. With feet placed
solidly in the ground of common sense,
he still remains a greater romantic figure
than any he has ever portrayed. He will
always be one of the greats in Holly-
wood history.

Diana Decides: “When I fall in love
and know it’s the real thing, I’ll marry
as soon as possible. I just don’t believe
long engagements work out.”

Diana Lynn spoke with that firm
conviction of hers so well camouflaged
with twinkles and dimples. She met
John Lindsay at the home of Stewart
Martin and his wife Angela Greene, an-
nounced her engagement in late October
and made wedding plans for December
when “Bitter Victory” would be com-
pleted. John, a thirty-year-old brown-
haired lad who came here from Milwau-
kee, is now established as a successful
architect. He admired Diana from afar
for a long time and the minute the Bob
Neal romance was over, he set out to
capture her heart.

Diana, on the other hand, admits she
was almost certain John was the one
while she was finishing “Every Girl
Should Marry.” “But that title had
nothing to do with it,” she smiles.

Set of the Month: John Lund and
Paulette Goddard sat on elaborate
thrones and held court. Paulette, in robes
of gold cloth and wearing a jeweled
crown, was L ucretia Borgia and John
Lund, her second husband. The first
spouse had been conveniently strangled
by the Borgias before director Mitch
Leisen opened the story that was being
unfolded on a Paramount sound stage.
Everywhere there was pomp and circum-
stance, intrigue and glitter. Between
scenes Paulette told Cal of her plans to
take off for Europe again in the early
winter. “Here in Hollywood, my life is
different,” she said. “I study ballet, lan-
guages, read and work, I like it. Gives
my life a balance.” She looked down at
the whale-boned stiff bosom of her gown.
“It’s authentic, I’ll say that for it, but
darned uncomfortable,” she said. Lund
was something to see in velvet headdress,
jeweled tunic and tights. Macdonald
Carey was transformed into a ruthless
meanie with a smart beard and armored
tunic. It seemed incongruous somehow to
have this Renaissance villain tell how
his two-year-old Lynn had fallen and
knocked out her two front teeth and how
Mrs. Carey had taken a sewing course
and had just finished her first frock. This
blending of the real and unreal is typ-
ically Hollywood, we thought, ambling
off the set as John and Paulette sen-
tenced some poor knave to a flogging.

Dan Dailey : To those who saw Dan
Dailey at work for the past year, who
knew something of the terrific schedule
that kept him going from one picture to
another with hardly a breathing spell be-
tween, his AWOL ( Continued on page 64)

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^ (F) The O’Flynn
(Universal-International)

IRELAND is the place, 1797 the year of
this adventure yarn that has Douglas
Faii'banks Jr. rescuing damsels in distress
and wriggling out of tight corners with his
customary aplomb. The fair lady who in-
spires Doug to such deeds of daring is
Helena Carter (“River Lady”), and the
handsome scoundrel threatening their hap-
piness is Richard Greene. There’s a good
deal of hocus-pocus about a secret docu-
ment which the traitorous Greene seeks to
intercept on its way to Helena’s father, the
Viceroy of Ireland. But Doug, armed with
his trusty shillelagh, goes into action, prov-
ing himself a formidable foe. It is all far
1 emoved from atom bombs, the housing
problem and such.

As Greene’s sweetheart, Patricia Medina
is fetching and Arthur Shields makes an
amusing bailiff. But it’s Junior who steals
the spotlight. Well, he’s producer, actor
and co-writer, isn’t he?

Your Reviewer Says: In the romantic Fair-
banks tradition.

Adventure and intrigue: Douglas Fairbanks resists Pa-
tricia Medina's cbarins to rescue his own ladv love

^Gootl V'V' Very good
Outstanding

ELSA

— For the whole family
A — For adults

BRANDEN

^ (F) The Accused (Paramount)

IF ever there was a lovely lady in distress
who needed a chivalrous male to defend
her, it’s schoolmarm Loretta Young. Since
he is attorney Robert Cummings, as clever
as he’s likable, Loretta and the audience
can rest assured that all will end well.

A sweet, gentle creature who teaches
psychology and has yet to learn about love,
Loretta accepts a ride from brash young
student, Douglas Dick. While resisting his
advances, she accidentally kills him. Al-
though it looks like a drowning accident,
investigator Wendell Corey suspects foul
play and probes into the affair with painful
persistence. As Dick’s guardian, Cummings
is drawn into the case but he doesn’t have
to consult his law books to know that Lo-
retta acted in self-defense. Besides, he
loves the gal even if she is a brainy uni-
versity professor.

The story is an absorbing one. Loretta
delivers a topnotch performance, Cum-
mings is a credit to the legal profession and
Corey scores as the understanding cop.

Your Reviewer Says: Suspenseful murder
meller.

Lady in distress: Involved in a murder, Loretta Young is pro-
tected by Bob Cummings against Wendell Corey’s accusations

Inspiring pageant: Ingrid Bergman, Jose Ferrer and a
cast of thousands bring the legend of Joan to life

^ (F) Joan of Arc (Slerra-UIwO)

MAGNIFICENT is the word for Walter
Wanger’s Technicolor production star-
ring Ingrid Bergman as Joan. It is pomp
and pageantry on a spectacular scale.

Ingrid has the wholesome quality of the
simple peasant whose fervent faith in God
is unshakable. Although she knows nothing
of military matters, she heeds the Heaven-
sent voices directing her to lead her
stricken country to victory. Miraculously,
she rallies an army to drive the English
from French soil. The tide is turned and
the weak and vacillating Dauphin, unfor-
gettably and vividly portrayed by Jose
Ferrer, at last ascends the throne. It is
then that Joan, betrayed by the Dauphin,
becomes a pawn of scheming statesmen
who brand her a witch and heretic.

Joan is helpless against such powerful
enemies as the King’s Chief Counsellor
(Gene Lockhart), the Archbishop of Rheims
(Nicholas Joy), the Count of Luxembourg
(J. Carrol Naish) and the Count-Bishop of
Beauvais (Francis L. Sullivan).

Your Reviewer Says: An eye-filling, soul-satis-
fying epic.

For Complete Casts of Current Pictures See Page 91.

For Best Pictures of the Month and Best Performances See Page 60.
For Brief Reviews of Current Pictures See Page 89.

Journey into madness: Olivia de Havilland with Mark
Stevens and Leo Genn in the picturization of a best-seller

(A) The Snake Pit
(Twentieth Century -Fox)

Occasionally, a picture comes along

so powerful in its impact that it leaves
you gasping. “The Snake Pit,” taken from
the novel of writer Mary Jane Ward, be-
longs in that category. Daringly different,
the humor is on the grim side.

As Virginia, an inmate of a State Insane
Asylum, Olivia de Havilland turns in one
of the most remarkable acting jobs of this
or any year. Her portrayal is so terrify-
ingly realistic that you had better stay
away if you’re the squeamish type. But
for those adults who can take the harrow-
ing sights and sounds of an overcrowded
institution harboring mental wrecks of
every description, here’s an electrifying,
memorable movie.

Leo Genn is a standout as Virginia’s
doctor, Mark Stevens invites sympathy as
her husband. Celeste Holm and Glenn Lan-
gan head a long list of supporting players.
Olivia, however, is our candidate for a
whole row of diamond-studded Oscars.

Your Reviewer Says: Shockingly good.

( Continued on page 18)

ANN BLYTH, STARRING IN
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nic 111

jyrn

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T hat very night 1 started using Jergens.

SOON — it happened — my roommate’s
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(A) Unfaithfully Yours
(Twentieth Century -Fox)

THE new Preston Sturges comedy serves
as a splendid showcase for Rex Harrison,
giving him ample opportunity to strut his
stuff. A celebrated symphony orchestra
leader, Rex suspects his beautiful young
wife of infidelity. Since she’s Linda Dar-
nell, looking simply ravishing in a series
of eye-catching costumes, it doesn’t seem
altogether impossible. To Linda’s bewild-
erment, her husband is Prince Charming
one moment, Bluebeard the next. That’s
because he is tortured by the thought
that the woman he adores is engaged in
a clandestine affair with his personable
secretary, Kurt Kreuger (“The Dark
Corner”). Rex plots ways and means of
avenging himself but, when he attempts
to carry out his clever schemes, he makes
a miserable mess of it. Rudy Vallee gives
one of his stuffed-shirt characterizations
as Harrison’s meddling brother-in-law;
Barbara Lawrence, blonde and brittle, is
Rudy’s sharp-tongued missus. Lionel
Stander plays the maestro’s manager, a la
Gregory Ratoff: Edgar Kennedy is a
music-ioving, clownish detective. It all
stacks up to audacious, adult enter-
tainment.

Your Reviewer Says: Smooth, slick satire.

y'y' (F) Kiss the Blood off My Hands
( Universal-International )

MURDER is an ugly business whether
by accident or design. And when the
culprit is rugged Burt Lancaster, a bellig-
erent chap full of primitive impulses, it’s
doubly regrettable. Lovely Joan Fontaine
thinks so after their impromptu meeting
in her London flat. Instinct tells her Burt
is a bad egg and it’s best to stay away from
him. But he’s so persistent, she’s so lonely
. . . and only human, after all. Their
chance at happiness seems slim, however,
when sly Robert Newton, a witness to the
murder, keeps popping up with disconcert-
ing regularity. Burt is all for committing
one last crime, then starting life anew
elsewhere but Joan, bless her, knows that
running away never works. Convincing
her headstrong sweetheart of that is some-
thing else again. Director Norman Foster
and performers Fontaine, Lancaster and
Newton turn Gerald Butler’s novel into a
highly effective romantic melodrama.

Your Reviewer Says: A lively, lusty thriller.

V' (F) The Paleface
(Paramount)

IN this fancy powwow that Paramount
has staged for its favorite comedian,
Bob Hope tangles with Injuns and — more
dangerous still — with the gal known as
Calamity Jane (Jane Russell to you).
A bungling dentist, Bob is forced to flee
town after manhandling an outraged pa-
tient. His covered wagon makes a handy
hideout for Jane, a tough-talking, two-
gun female under government orders to
track down a band of renegades smuggling
ammunition to the Indians. Jane gets Bob
to marry her, but there isn’t time for a
honeymoon, wbat with arrow-shootin’ red-
skins and gun-totin’ whites besetting them
at every turn. However, Hope manages to
serenade his bride with a breezy ballad
called “Buttons and Bows.” Robert Arm-
strong and Jack Searl are a pair of con-
niving crooks on the warpath for the
scalps of Bob and Jane. Although there
are snickers here and there, nothing de-
velops to send you into hysterics.

Your Reviewer Says: Technicolor travesty
on the Old West

V' (F) Hills of Home
( Metro-Goldwyn-Mayer )

IASSIE — cleverest canine of them all —
learns how to swim in this Scottish
tale told in Technicolor.

For forty years, Doctor Edmund Gwenn
has been administering to the physical
needs of the folks in the glen, often
risking life and limb to come to their aid.
Lassie becomes his loyal assistant but it
takes a real emergency before the dog
plunges into the swollen streams and
comes through with flying colors. Young
Tom Drake is the hand-picked candidate
to succeed Gwenn— and very nice, too.
Tom’s farmer-father, Rhys Williams,
fights the idea of his son becoming a
doctor but it’s a losing battle with Gwenn
and pretty Janet Leigh on Tom’s side.
Donald Crisp is Gwenn’s staunch and
sensible friend and Reginald Owen plays
tavern keeper with a misplaced sense of
humor.

Everyone speaks with a decided burr —
except Lassie, who needs no words to
convey her canine sentiments.

Your Reviewer Says: A doctor and his dog.

'S (F) Blood on the Moon
(RKO)

SOME men kill for principle, some for
money, others because they are plumb
trigger-happy. In Bob Mitchum’s case, it’s
a little of each. A born trouble-shooter
from Texas, Bob becomes embroiled in a
bitter dispute between his pal, Robert
Preston, and cattleman Tom Tully. Once
Mitchum learns that Preston and crooked
government agent, Frank Faylen, are
scheming to get Tully ’s herds for next to
nothing, with the aid of the unsuspecting
homesteaders, he isn’t too happy about the
deal. Then, too, there’s Tully ’s forthright
young daughter, Barbara Bel Geddes, to
stir Bob’s conscience and his heart. So
he switches to Tully’s side and from there
on out, it’s a fight to the finish with no
holds barred, between Mitchum and
Preston.

Superior acting plus exciting scenes of
stampeding cattle and shots of the snow-
covered Rockies lend realism to a routine
rough-and-ready Western. A uniformly
fine cast includes Walter Brennan and
Phyllis Thaxter.

Your Reviewer Says: Mitchum on the range.

V'V (F) He Walked by Night
(Eagle Lion)

BRISTLING with action, this cops-and-
robbers movie takes you behind the
scenes of the Los Angeles Police Depart-
ment. Homicide investigators Scott Brady
and James Cardwell are assigned by Ser-
geant Roy Roberts to capture the killer of
a fellow-policeman.

Richard Basehart, cold and callous to
the core, is their man. He appears to have
an amazing knowledge of their tactics, al-
ways beating them to the punch. How he
is finally trapped makes for a vivid, thrill-
packed picture. Basehart and Brady give
praiseworthy performances.

Your Reviewer Says: High-voltage crime.

kV (F) The Red Shoes
(Rank — Eagle Lion)

FOR the greater part of this bizarre story
within a story, you’ll be enthralled . . .
unless ballet bores you. Based on the
Hans Christian Anderson fairy tale, the
film describes how the crimson slippers
of a dancer compel her to keep on her
toes, literally speaking, until she drops
from exhaustion. As the charming and
talented dancer, Moira Shearer is a tragic
figure, tom between career and love.
Impresario Anton Walbrook, makes her
famous and is beside himself when his
protege falls in love with young composer
Marius Goring. The film affords an inti-
mate glimpse into the ballet world. There’s
the temperamental Leonide Massine, the
venerable Albert Basserman and the bril-
liantly performing corps de ballet.

Your Reviewer Says: Mr. Rank dramatizes
the dance.

( Continued on page 60)

Drama beyond the footlights: A glimpse into the fascinating world of ballet and
the private life problems of Marius Goring, Moira Shearer and Anton Walbrook

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It was a moment for teinrf a woman

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could keep lier alive. . .TlOW?

SECOND CHANCE

To Win Photoplay’s Industry Engineered Dream House

This house, completely furnished, and the land on which it stands,
will go absolutely free to the person who supplies the last line for the jingle below

READ these simple rules:

1. Simply write or print in the space
indicated on the coupon that appears on
the right — or on another sheet of paper—
your last line for the Photoplay Jingle.
Make your last line rhyme with “me.” Then
fill in your complete name and address and
mail your entry to: Photoplay Contest, P.O.
Box 12, New York 8, New York.

2. All entries must be postmarked not later
than midnight December 25, 1948.

3. Anyone living in the continental United
States may enter except employees and
the members of families of employees of
Macfadden Publications, their advertising
agencies and The Reuben H. Donnelley Cor-
poration; and employees of members and
staff of the National Retail Lumber Dealers
Association.

4. Submit as many entries as you wish, but
each entry must be the original work of the
contestant and submitted in his or her own
name. Joint entries will not be acceptable.

5. Entries will be judged for originality, in-
terest and aptness of thought by The Reuben
H. Donnelley Corporation — an independent
contest judging organization. Judges’ deci-
sions will be final. Duplicate prizes will be
awarded in case of ties.

6. All entries become the property of Mac-
fadden Publications and may be used as they
see fit. No entries will be returned.

7. The winner will be announced in the
April, 1949, issue of Photoplay. This contest
is subject to all Federal and State regulations.

PHOTOPLAY DREAM HOUSE ENTRY BLANK
Write a last line for this jingle:

Here’s a home that is perfect for me.
Engineered by a great Industry.

A Photoplay prize.

Where happiness lies

(Fill in line to hyme with "me”)
Example : It's a dream with a life Guarantee.

Please print name and address and mail to:
Photoplay Contest, P. O. Box 12, New York 8, N. Y.

Name

Street

City State

See page 90 for details of house and furnishings

THE long distance operator said,
“Ready with Mrs. Topping in
Greenwich,” and I said quick-like,
“Hello, Lana. What’s all this about
you retiring when the baby is born?
Are you really giving up your
career?”

There was some whirling, static
scratching in the phone, I thought at
first must be disturbance on the line
until my girl friend’s voice came
booming through breathing fire.

“I certainly am not,” .said Lana
Turner Shaw Crane Topping, every
word underlined with emphatic
clarity. “I’m glad you called me,
Louella. I want to stop those rumors
once and for all.

“Why should I, as hard as I’ve
worked for years, throw everything
out the window? I’ll always work.
I love to act. But right now, Bob and
I are thinking of nothing but the
baby.”

“How do you suppose the talk
caught on like wildfire that you were
giving up the screen forever?” I put
in.

“Oh, I suppose it began when the
doctor said I was run-down and
must do a lot of resting. So Bob and
I stayed out of night clubs in New
York, led the simple life, dined
early and took walks in the Park
before turning in by ten o’clock.
That’s such a different type of life
for me, it’s liable to start any kind
of talk.

“Right now we are out at Bob’s
home in the country. And, oh Lou-
ella, you don’t know how much we
are hoping for a little boy!”

The heaviness had gone out of
Lana’s conversation and all the dra-
matic excitement of waiting to be-
come a “little mother” for the second
time was ( Continued on page 83)

Lana’s off on a new set
of dreams. She’s being a
lady-in-waiting in typieal
Turner style!

BY LOUELLA 0. PARSONS

Lana’s plans for Cheryl, merry-
go-rounding with Van Heflin’s
little daughter Vana, include a
small brother for a playmate

Why Im not afraid
to marry Wmda

He’s just a guy with a dream and

SOMEWHERE around Christmas time, probably just
about when you are reading this, I hope to be
making Wanda Hendrix — Mrs. Audie Murphy.

In a small church somewhere, if things go as we
now plan, there’ll be a minister saying, “Do you,

Audie, take Dixie Wanda to be your lawful wedded
wife?” When I answer, “I do,” I will mean it and
that’s for sure.

Ordinarily, I'm not much of a church-goer. Neither
is Wanda. But when this marriage takes place, it
will have to be solemnized, because it will be the
high point of our two lives. I want an organ playing
soft and little Skipper beaming beside me, all togged
out in a white dress and veil.

If that sounds sentimental, that’s okay. I got sen-
timental overseas, like lots of other guys who were
in unifo/m. In all that filth and loneliness and pain,
you either dreamed of the good things, or you
went nuts.

This will be our first marriage. It’s also the first
engagement either of us have ever had. It will be
our only marriage, I hope. ( Continued on page 85)

a handful of medals — she’s a star
who has the whole town talking.

But their love gives them the cour-
age to take the Hollywood hurdles

BY AUDIE MURPHY

Two hearts in harmony: Audie and Wanda prefer listening to love songs together

Fraker

Shipper of s4udie S dreams: Wanda ^Jdendrix, star of Yldiss ^Jatiocb S Yl/Jiffions

When they feel sentimen-
tal, they wisecrack. When
they’re together, it’s a side-
show. But wherever Esther
goes, it’s home

BY BEN GAGE

I FIRST dated her when I was a GI in the
radio division stationed at Santa Ana.

I had only just met her. But I had gotten
her phone number. I was a sergeant and
sergeants have a lot of confidence. So I
phoned her and said:

“Hey, pretty girl, are you busy tonight?”
She said, “Yes — but actually it’s none of
your business.”

I said, Madame — you are addressing a
sergeant of the U. S. Army and it’s your
patriotic duty to keep up the Army morale.”

Since she was a very patriotic girl and also
a girl with a sense of humor, it was a date.

I loved her on sight. She is easy to love.
Practically everyone, up to millions, have the
habit. I not only loved her, I liked her.

On our first date I took her to the Pit Bar-
becue in Glendale and a movie afterward.
The movie was “The Song of Bernadette.”
She enjoyed the picture tremendously. She
cried all through it. I didn’t like it and she
said it was because she had cried so hard and
didn’t look pretty enough to be seen and go
get something to eat afterwards. I was
hungry. When is a GI not so?

We were married in Westwood and our
i eception was at the home of our friends
Melvina and Ken McEldowney. Esther’s
family home wasn’t big enough to hold our
relatives. It was a tiny house. Esther was
born in the living room. There wasn’t room
in the bedrooms, they already were full up
with babies.

That’s my Priority One for liking her. She’s
a family lover, as ( Continued on page 68)

When the Gages get to-
gether it usually means a
gag for Ben’s radio show

Esther s charm lies in her naturalness — there
are no barriers between her and people

lOi

Esther Williams, of “Take
Me out to the Ball Game,” is still
a kid about surprises — especially
honeymoons. Ben is planning their sixth !

MUSCLES,
MAGNETISM
AND MENACE

BY DOROTHY KILGAL1EN

Smooth and potent: Howard Duff
has the impact of a triple Scotch

Poioolny

Estabrook

Peerless Peck: A blend of poet and
peasant and a way with all girls

Poioolny

Sock appeal: Richard Widmark’s is due to have an
even higher voltage when the gunfire dies down!

Some triple-threat reasons for putting your heart

Heart specialist: A hint of weakness in his collar-ad
charm keeps you yearning to reform Farley Granger

Sigh-bait : Peter Lawford looks like a
boy and acts like the man femmes want

G. Morris

Fink- Smith

on guard against these men of

I HAVE, I figure, spent enough woman hours
studying brawny specimens on the screen, in
portable dressing rooms and across tables at
Twenty-One to qualify as an unchallenged ex-
pert on muscles, menace and magnetism. As one
who has taxied with Gregory Peck, waltzed with
Tyrone Power and slid down White House ban-
isters with Van Johnson, I figure I know a
million-dollar hunk o’ man when I get close
enough for a good look.

Well, step this way, girls. I have consulted my
charts, taken my temperature and looked at that
handy piece of furniture known as the crystal
ball. I am ready to reveal the names of the
lucky lads who not only are here today, but will
be here tomorrow — the heartbreakers of the
next five years.

Suppose we take them in alphabetical order.
John Agar: Here’s the type every red-blooded
American girl who walks (Continued on page 92)

distraction

Longet

Sweet menace: Monty
Clift makes the wrong
impression pay off

McCoy and her Prince Charming is a guy named Sam

Real fairy godmother, Joan Crawford,
tossed a cocktail party to introduce
her namesake to Hollywood

BY JOAN EVANS

IT WAS at three-twenty p.m. on Monday, August 30th, that
Mr. Samuel Goldwyn told me, “I have decided to give you
the part.”

That part was Roseanna McCoy, from the picture of the same
name. I knew, of course, such a break was just about the most
thrilling thing that could happen to any fourteen-year-old girl
anywhere. I have learned since that it is the first time that any-
one my age, and completely unknown to the public, has been
starred in the title role of a picture.

My mother, Katherine Albert, and I both cried. With joy and
excitement. But the next day when people began, calling me a
Cinderella, I began to be unhappy. It was only when Katherine
pointed out that they were saying “Hollywood Cinderella” that
I began to understand.

You see, I simply never have had a cruel stephaother, a
haughty older sister, or anyone pushing me around. Instead, I
have had a simply wonderful life. ( Continued on page 79)

Ok is is the love Scene in the test with ddarleif Cj rancher
that made Jfoa n a star overnight

Schafer

rueen,

) arbara

anwtyci

ami

THIS morning the alarm clock went off with its

usual five-thirty effectiveness. As I snapped awake,
I thought, “But this isn’t a working day.” Then,
realizing what day it was, I barefooted across the
carpeted floor to drink my usual three glasses of cold
water and take a shower. Shivering a little, I
thought that even my family would appreciate my
mania for orderliness on this day — even if that mania
had upon occasion caused me to do such foolish things
as throw away the ration books when cleaning
out a kitchen drawer.

In just a few hours Bob and I would leave the
little house I had moved into when he was in the Navy.
Like half of America, we had dreamed that, come
the war’s end, we’d build our dream house. We had
paced back and forth over the acre we’d bought.

We were the pair who knew exactly what we
wanted. Our dream house had been long and care-
fully planned and we wouldn’t change a detail! So, like
many others, we postponed building the dream until
it could be ideally realized. Lately, being practical
instead, we had bought an old but larger house,
fitted it as much as possible to compare with our
dream house and today ( Continued on page 70)

STANWYCK

What objects would tell

the story of your life?

These mark milestones for Barbara

The crystal in
Steuben’s window

Painting of a dan-
cer by Paul Clemens

FULL HOUSE

The 21 Club in action: David Holt, Darryl Hickman (The Set-Up), Bob Arthur (Green Grass of Wyoming), Jane Powell
(Luxury Liner), Raymond Roe (June Bride), Colleen Townsend (Walls of Jericho) and Betty Lynn (June Bride)

stigated the 21 Club, says none of the
members drink or smoke. All of them
are greatly interested in music, keep
pretty well informed on current events

The 21 Club is the young idea of how to get
away from it all — for the only old thing about it is . . .

boy meets girl!

The gang closed in when song writer Holt played “Cuddle up a Little Closer'

Bob got help from Raymond Roe.
in rolling up the rugs for dancing.
Bob’s date, Colleen Townsend,
who takes her shoes off when she
dances, was excited about her first
trip East for Detroit premiere of
picture, “Apartment for Peggy”

HOLLYWOOD has a new club. It has
no clubhouse. It has no meeting
date. The gang gets together at each
other’s houses whenever studio sched-
ules permit an all-around free evening.
The 21 Club, as it is called, got its name
because that is the average age of the
group. Bob Arthur started the club
when he became lonely for the com-
panionship of kids his own age and
realized that others must feel the same
way. Informality and fun are the pass-
words, and every so often a party
crasher named Dan Cupid drops in to
add to the excitement.

Bob’s collection of records was
main attraction for the group.
They all wanted to hear his
French songs. Colleen clamored
for an old Mills Brothers rec-
ord, “That’s the Way It Is”

Snacks between dances
were followed by a sit-
down supper and gab-
fest. Bob’s housekeeper
had prepared stacks of
sandwiches, potato chips,
olives, and an unbelieva-
ble number of soft drinks

/+ W/lf Be A Grand

. . . some star offenders will follow these bright

INETEEN FORTY-EIGHT goes out with a
whimper! 1949 comes in with a bang — we
hope! And here’s wishing you in general,
and Hollywood in particular — A HAPPY NEW
YEAR! But it isn’t enough to wish, we have to
work to make it happy. And that won’t be too
difficult. . . .

If . . . Bette Davis cuts out the temperamental
tantrums and acts like a grand human being
again, as well as a great movie star. Talk about
“Winter Meeting” — or shouldn’t we! Bette’s

working weather chart was frosty plus and it
didn’t thaw too much in “June Bride.” Even
Ernie Haller, a gentle character and Bette’s
once friend and favorite cameraman, told me
that so far as he is concerned, Bette was a 1948
negative. Here’s pleading there’ll be a positive
change for the better in 1949.

If .. . Joan Crawford finds an honest-to-
goodness mate to love and cherish and vice
versa, until divorce do them part. Dan Cupid
certainly shot his 1948 arrows below the belt

1. Jeanne Crain

2. Joan Fontaine

3. Olivia de Havilland

4. Howard Duff

5. Ava Gardner

6. Janet Leigh

7. Frank Sinatra

8. Jennifer Jones

Drawings by Kroll

36%.

MewVear In -Hollywood IF...

new resolutions

BY SHEILAH GRAHAM

for Joan. And if he doesn’t come through with
something more durable than Red Barry, Peter
Shaw or Greg Bautzer in 1949, Joan might as
well cancel his contract. And then we column-
ists would have nothing to write about.

If .. . Errol Flynn puts into practice all those
fine sentences about how he is now a home boy
and how he loves his wife Nora, etc. etc. And
the sweet-talk will be more convincing if Errol
doesn’t battle quite so much with his beautiful
young wife.

If . . . Olivia de Havilland says to sister Joan
Fontaine, “Let’s kiss and make up” and if Joan
says to Livvy, “Okay, let’s!”

If . . . Audie Murphy makes a hit on the
screen in his first starring picture “Bad Boy.”
“He’s a very proud person,” Wanda Hendrix
tells me. “He won’t be happy married to me
unless he does as well with his career, as I do
with mine.” That’s why Audie balked at mar-
rying Wanda when they met and fell in love
two years ago. He (.Continued on page 66)

9. Joan Crawford

10. Bette Davis

11. Victor Mature

12. Errol and Nora Flynn

13. Larry Parks

14. Judy Garland

15. Jimmy Stewart

16. Margaret O’Brien
and mother

Linda Christian and Ty : Only Linda knows the answer to the questions she asked that certain fortuneteller

While the world buzzes about his

marriage, Ty Power

goes his way.

future

IN Italy, in the very old town of San Gimignano,
where, hundreds of years ago, Dante preached to
the people, stands an ancient church. Friends of
mine visiting here last autumn were astonished to
see a young man of the fifteenth century kneeling, in
religious abandonment, at the foot of the altar.

It was Tyrone Power. He had stolen away from
the “Prince of Foxes” company, on location at San
Gimignano, to make his devotions. For Tyrone is an
ardent, practising Catholic. When he married the
divorced Annabella, he was somewhat estranged from
his Church for a time. But he does not mean this to
happen again. All of which explains why he didn’t
mgrry Linda Christian in Rome this summer, as they
planned. The Archbishop of Los Angeles recom-
mended to the Vatican that Tyrone Power and Linda
not be permitted to marry in the Church until Tyrone
is legally free. His divorce from Annabella is not
final until January, so at the eleventh hour, the
marriage was postponed.

It amazes me to see how quietly firm Tyrone can
be when something is deeply important to him. The
announcement of his wedding had been made. Linda
had her beautiful wedding dress from Fontana. Ty-
rone’s clothes had come from his tailor. Gene Markey,
in Rome to serve as best man, had his wedding finery.
The Countess DiFrasso’s beautiful house had been
rented. We all had been invited to a wedding break-
fast. And we went to a wedding breakfast too —
even though no wedding preceded it.

That breakfast was something to behold. Countess
DiFrasso’s house in Rome is rarely lovely. The fur-
nishings are in the most perfect taste. The gardens
offer a variety of flowers. The silver, crystal and
linen bear the DiFrasso crest. ( Continued on page 88)

Linda Christian hoped to get the role that Wanda
Hendrix plays with Ty in “Prince of Foxes”

for

Europe has a name
him — Tyronie Povoro

1 ss —

1 1

•r i

difficult—
that’s me

He walks out when company
stays late, goes on periodic
fad-jags, even installed ice water

On the home set: Eleanor, Peter and Glenn Ford

in his bed — but that’s only half
of what’s wrong with Ford!

BY GLENN FORD

1GET tired reading about how wonder-
ful movie stars are. You and I know
it’s not possible to be absolutely per-
fect. If, for instance, you’ve ever been led
to believe I approach being an ideal man,
ask anyone who actually has to bear up
under the strain of me at close range.
Holy cow — you’ll receive a blast!

I’ll come clean:

I’m not the social light most wives
want. I’ip not good in polite conversation
because I just don’t care about gossip.
To me, the differences in people are only
differences in human nature. I’d rather
be silent than trite. Ellie used to ask me
what happened at the studio. If it had
been the usual sort of day I’d answer,
“Nothing.” She’s finally realized I refuse
to discuss the obvious. Luckily for me,
she recognizes this trait is too basic in
me to change.

On the other hand, it never occurs to
me to deny myself an honest opinion
whenever one hits me. Elbe is constantly
telling me I hurt acquaintances with my
straight talk to them. If we have com-
pany that wants to stay late and I’ve had
a hard day with ( Continued on page 61)

Glenn’s goal in life is not to be seen in “Soeiety”

Jranhiu .3 ord -

enn a current picture iA

Jimmy Stewart arrived with new girl friend, socialite Gloria Hatrick McLean

Good fun for any party was the anagram dice game John Hodiak brought.
While Mrs. Peck, John, Anne Baxter, Kay Mulvey and Bernie Williams watch,
Greg throws the six dice. Trick is to form a word with each throw

Remembering all the gruesome

holiday office parties we have
1 attended, we decided to give
a party in our new little penthouse
office and see if we couldn’t take the
curse off the accepted routine! We
strenuously object to the usual type
office party — not enough ice, warmish
store food in leaky paper cartons, no
organization, just chattering people
with nothing to do.

First, we borrowed an electric
rotary spit — one of those new stain-
less steel barbecues that neither
smokes nor drips. (If you can’t
borrow a portable barbecue, you
can do magic things on a hot plate,
which costs about five dollars.) A
couple of hours before the party we
spread out papers and prepared ev-
erything very simply. We popped a
whole cooked ham out of the can,
scored it and stuck it with cloves and
put it on the spit. In the dripping pan
we dumped one glass of clear apple
jelly, a cup of white sherry and *4 lb.

of butter which all melted as the ham
browned and made a delicious basting
sauce. We filled celery hearts with
Roquefort cheese with brandy (a pre-
pared mixture) and cream cheese,
about half and half.

We stuffed large pitted black olives
with blanched almonds and sprinkled
garlic salt over a huge wooden salad
bowl of potato chips.

If you are using the electric plate,
you can’t offer a more attractive del-
icacy than sizzling little hamburgers
on trimmed slices of bread. Make
them the night before, shape them
(tiny and flat) and put them in a bak-
ing dish with wax paper between
each so they won’t stick together.
Here’s our recipe for hors d’oeuvres
hamburgers: 1 lb. ground round steak,
1 tbsp. Worcestershire sauce, % cup
light cream, 1 egg, tsp. Tabasco
sauce, 1 tsp. dry mustard, 1 tsp. salt,
pepper to taste. Mix well. This should
makp between thirty and forty tiny
hamburgers. Let your guests make

their own as part of the fun. Minced
clam canapes are simple to make and
always a favorite: 1 lb. cream cheese
mixed with a 7 oz. can of minced
clams, juice and all. A dash of Ta-
basco and a few drops of lemon juice
add zip. Serve in a bowl with a plate
of crackers or potato chips nearby so
your guests may dunk.

Our local store, the Beverly Hills
Gourmet, delivered everything. And
none of the preparation^ made such a
mess that it all couldn’t be whisked
away in a hurry.

Everyone made their own sand-
wiches. We solved the ice problem by
using a picnic icebox and used paper
plates and napkins. Five and dime
glasses were wonderfully gay. And
our huge Christmas wreath added a
welcoming note. If you want to help
the Yuletide spirit even more, serve
punch or hot, buttered rum. A little
different from the usual heavy eggnog
or Tom and Jerry. But here we leave
you on your own.

Take a new lease
on your office party
life with these
recipes that will put you
at the head of the fun
department

BY KAY MULVEY

Another reason why Jimmy’s a popular guy — he tells fortunes!
Eager beavers are Mrs. Greg Peck, Greg and the Zachary Scotts

Office party innovation was portable rotary spit for
baking the ham. Greg and Anne teamed up on sand-
wich making — John and Zach kibitzed with bites!

STAGE IB-*
-STAGE BtSi

•4

;

K- ;

r 1 'i

B [ j

The rolling Hollywood hills back-

drop Paramount’s great sound stages

The guarded doors to a great
movie empire swing wide —

with this Photoplay pass

to Paramount Studios

Genius at work: Here Charles Brackett and Billy Wilder, Paramount
producing team, dream up hits like “Emperor Waltz,” “Foreign Affair”

THE Paramount Studios are
just beyond the Hollywood
hills. Most movie compa-
nies, having departed from
the town they made famous
long ago, are now situated in
the Valley or out Culver City
way. But Paramount remains in Holly-
wood, not far from the comer field where
the old barn — in which the studio had its
beginning — used to stand. The executive
buildings face the streets surrounding the
studio acres. But only the few for whom
the big iron gate, policed day and night,
swings wide ever see the heart of the
studio — the big stages, the commissary,
the dressing rooms, the make-up depart-
ment, the dressmaking salon or the busy
streets peopled with actors and actresses
wearing the costumes of many ages and
many countries.

HOLLYWOOD TOUR H*

Photographs by Fink and Smith

On the studio green, before Dressing Room Row, Mary Jane Saunders,
who debuts in “Sorrowful Jones,” gets a golf lesson from Bob Hope

Sue re-did Alan Ladd’s dressing
room about three years ago — deco-
rating it with early Americana which
they picked up on trips East. Some-
times Sue packs a lunch for Alan,
who likes to eat in his dressing
room and then lie down and relax

Everybody meets at the commissary: Stand-
ing is Pauline Kessinger, manager. Clockwise
are John Lund, Ilka Chase (in rear), Wanda
Hendrix, Bob Stack, . Bruce Cabot (back
to camera), designer Mary Kay Dodson

In this room fashions are born — for Paramount stars. Edith Head,
top fashion designer, discusses with Brenda Marshall sketches of
the clothes Brenda will wear in her film “Whispering Smith”

Six girls with the same dream — stardom one day: These extra girls are on their
way to rehearsals for a swimming pool sequence in a musical picture

The cameras have slopped grinding : Irene Hervey, Alan Ladd and
director Lewis Allen discuss the day's shooting on “One Woman”

Cecil B. deMille, producer of many
great films, at doorway of studio gym
— which originally was the old barn
in which he made his first pictures

Who hasn’t heard of the front office?

Like Wanda Hendrix, stars wait for wagon, bringing coffee,
cake, candy, as eagerly as kids watch for the Good Humor man

HOLLYWOOD TOUR

Jim Davies gives stars like Billy De Wolfe the works —
in his studio gym, where Jim is definitely the boss

The greenhouse dates back to the days when Dorothy Lamour made jungle
pictures. Today, surplus plants are sold to employees like Mona Freeman

Here is the famous Front Office Row

—

She fools her public but

not her working partner, who

discovered these things about

Grable worth recording

BY ANGIE BLUE

FOR almost eight years I have lived with Betty Grable in all her
working hours. In my job as assistant to the dance director at
Twentieth Century-Fox, I have the specific assignment of
working out, with my boss, all of Betty’s dance routines, rehearsing
her in them and checking the final performance when it goes on film.

The first thing I had put in my little book about Betty was
that she was good — good at her job, that is. I admire people who
do their work well. That was in 1932, and we were both kids. Betty
was doing a specialty dance in “The Gay Divorcee” at RKO. My
sister Theodora and I (we were “The Little Blue Sisters” then)
were doing a number in the same film. We sat on the set and
watched Betty dance. She was so quick at taking direction, so vibrant
and alive in projecting the stuff she had just learned, that I was
impressed.

Nine years later, we landed on the Twentieth Century-Fox lot
simultaneously. It was the Big Break for both of us. Our first job
together was on “Moon over Miami” and I had a new note for the
little book at the end of our first day of work. Betty came in, in
the morning, to learn a routine Hermes Pan and I had spent weeks
working out. In an hour she knew it as well as I did. At noon,
word came down that the producer would come on the set in
the afternoon to look at the number. ( Continued on page 71)

Danny Kaye was terrific as night club entertainer
Kay Thompson. Jack Carson (above), George Burns,
Van Johnson, Jack Benny impersonated her partners

Shirley Temple, as Marie Antoinette, was judged the prettiest gal
there. The lensmen asked her to present a watch to General Grant
(Georgie Jessel) in appreciation of swell job he did as M. C.

The Mitchums made monkeys out of f riends who tried
to guess who were behind those masks. It was Bob

and Dot’s first appearance since their reconciliation

Stars shone, flash-bulbs popped and the
Hollywood Press Photographers’

Ball became the year’s
most dazzling frolic

With encouragement from Larry Parks, Shelley Winters frightened
Betty Garrett with toy lizard. Later the joke was on Shelley when
she flirted with a “gent” who turned out to be Mrs. Dan Duryea

Frank Sinatra and Gene Kelly, song-and-dance men,
brought down the house. Frank’s footwork was so
good everyone suspected Gene had coached him

Ted Briskin as a Maharajah was a stickler for accuracy and
showed up with three wives: his own, Betty Hutton (below). Para-
mount press representative Lindsay 'Durand and her daughter Diane

June Haver showed ringmaster. Dr. John Duzik, a
few tricks. The ball at Ciro’s saw Photoplay’s Hymie
Fink and Sterling Smith lauded for their good works

GAME CONDUCTOR— RALPH EDWARDS

Reagan fumbles, Edwards recovers — the mike — in a
consequence that called for some double play on Q. 5

Ronnie’s a fast talker but when words

failed him, Ralph was in there pitching —
some fast consequences!

1. Q: Do you have a tendency to he too
talkative?

A: Yep. I talk too muck.

2- Q: That's prohahly your shortest speech
on record. What’s the longest?

A: When I was a sports announcer, I talked
about the Chicago Cubs for five hours and
thirty -five minutes one hot day. It was 108
degrees in the shade and that seemed plenty
long. Some double - header, too. In the last
inning — two down, one to go — the pitcher
threw a long low curved one right over home
plate and . . .

3. Q: And you’re OUT. It’ s my turn at mike
again. Have you ever talked yourself into
trouble?

A: A million times. " Why don’t I keep my
big mouth shut?” I keep asking myself —
later. As for example, when a young lady
asked my advice about a boy friend she'd
broken with, I told her. Three weeks later,
they made up. Now guess who doesn 't speak
to whom.

4. Q: Can you admit it when you’re wrong!*

A. Yes, except for one thing and I have to laugh
at myself there. The only place I have trouble

The penalty for passing Q. 11 really had Ronnie burned up!

taking it sitting down is in a critical discus-
sion of my acting. Then I find myself really
boiling and making speeches of justification
for th e scene. Usually with, "But you don t
understand what I was doing there ...”

5. Q: What spoken words do you most regret?

A: Sorry, I can’t be outspoken on that one.
Edwards: Okay, Ronnie, there’s a penalty for
with - holding. As a former football star and
sports announcer, let’s see you carry the ball
and announce your play at the same time.

6. Q: Which is your favorite role — actor or

(Continued on page BO)

Follow the all-American impulse

to do something different and let
your home life go Western

WOULD you like to make your money and your time go a little
further? Would you even like to have your life go a little further
— and have more fun in the bargain?

You can do all this by simply giving your home a more Western
accent. It isn’t by any accident that a style of furniture and interior
decoration called California modern is rising in this country. Ex-
cept for the early American pieces, both genuine and reproduction,
this California modern — sometimes called Monterey modem, some-
times flossied up and called Swedish modern — is among the most
rapidly selling styles in home furnishings.

And it should be. The reason is that (a) it is relatively inexpen-
sive. (b) It is ideally suited to modern American life, (c) No
woman has to work eight to ten hours a day keeping up such a
setting. So today, when the back-to-the-home-for-fun movement
is growing stronger and stronger, this casual, friendly type of living
is in the ascendancy. It has always been a Western attitude to
attain the maximum comfort with the least possible effort. Com-
bine this with the all-American impulse to do everything efficiently
and you really get a beautiful blend. So, (Continued on page 84)

A 54

The patio is on a Western basis in the Burl Ives homestead — with avocado trees for summer shade, fireplaces for sunset chill

The Dan Duryeas’ barbecue terrace makes entertaining informal fun, provides extra room for growing boys’ activities

Cathy O’Donnell entertains Nancy Ross, singer on the Breakfast Club show, in her outdoor living
room above Sunset Blvd. Iron furniture, charming and practical, includes nest of tables for serving

Photoplay's
Reporter-
about-totcn

edith guipn

1T0W, of course, is the perfect time to talk about furs — espe-
|| cially the kind that can be carried over almost to the end of
spring — though one wintery job that must be mentioned is the
unique navy-blue seal casual coat that Doris Day has. (We don’t
suggest you rush out and get one like it unless you have at least
four other fur coats!) The front closing is banded with navy
ribbed wool and it has push-up sleeves. The coat is lined with
the blue wool too. It’s stunning over sports clothes. Then there’s
that wrist-length black Persian lamb jacket of Joan Bennett’s,
cut so simply and youthfully that it looks well over anything —
and light enough in weight to wear any time except when the
svm is really beating down.

But the really important thing about furs, is the fact that
everyone out this way has gone mad for capes — all kinds of
capes. And that’s where your old furs come in because the
styles, shapes and sizes of the capes are so varied. Skipping the
luxurious, full-swaying fur capes, how about the new, almost
tiny, just-around-the-shoulder type of fur cape so popular with
some of the film city belles? That old fox jacket— or bedraggled
muskrat coat of yours, can emerge as a smart, snugly fitting
little cape or a really short one that is full and buttons at the
neck with no collar. If you’ll just cut it up — and let some furrier
refurbish it for you!

Anita Colby has a darling shoulder cape (almost like & little
shawl — except that it hooks in front) fashioned of merely four
rows of sable skins. The cape is in straight rows — so that it really
never reaches the neck, and the hooks are invisible, for they’re
covered by the full, furry sable tails in little bunches of two or
three, over the closing. It’s obvious that this little number would
be much less expensive, but just as pretty and flattering in many
kinds of fur — any kind, in fact, except those that are completely
flat. And a perfect complement to any ( Continued on page 81)

Fashion of the month: Joan Leslie’s
separate Elizabethan-styled collar of
black Persian lamb can be worn with
dresses, suits or even a ski outfit

Brush up your past pretties and
make them modern accessories for
it’s smart to look backward, today

THE MAGIC THAT IS YOU LIVES IN YOUR FA CE

Mrs. Aetor’s beautiful skin has the clear, smooth look of faultless grooming

You see her, and you feel the special
quality of her charm. For her lovely
face briugs you the glamour, and dis-
tinction. and warm responsiveness that
are so much a part of her inmost self.

So much that is You speaks for you in
your face. It is the out-going expression
of your inner self — the you that others
see first — and the you they remember
best. Do help your face, then, to look
clear and bright and lovely — so it can
express you happily.

To my mind there is just no better Jace cream,

jl/rs. ylslor says

Your face has a fascinating way of tell-
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"Outside-Inside” Face Treatment with
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Hot Stimulation — splash face with hot water.
Cream Cleanse — swirl Pond’s Cold Cream all
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Cream Rinse — swirl on a second Pond’s cream-
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Cold Stimulation — a tonic cold water splash.

See your face now! It looks and feels
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Literally, this Pond’s "Outside-Inside”
Face Treatment acts on both sides of your
skin. From the Outside — Pond’s Cold Cream
wraps around surface dirt, as you massage
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From the Inside — every step quickens
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It’s not just vanity to develop the beauty
of your face. Look lovely and it slips over
into how you think and feel and act. It
gives you a happy confidence — brings the
real Inner You closer to others.

Pond’s — used by more women than any other
face creams. Today — get this favorite big ,
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YOUR PHOTOPLAY

HOLLYWOOD STAR ADVENTURES

“WHEN I READ THE SCRIPT OF 'LITTLE WOMEN', I
FOUND THAT MY PART OF 'JO', THE TOMBOY OF
THE STORY, CALLED FOR ME TO LEAP OVER A
NEIGHBOR’S FENCE-AND DRESSED IN HOOP
SKIRTS, NO LESS."

SO JUNE DECIDED TO PRACTICE. WITH
MATERIALS OBTAINED FROM THE STUDIO PROP
ROOM, SHE FASHIONED A MAKE-SHIFT HOOP.

JUNE'S MAID ANSWERS
THE DOOR TO A VERY
EXCITED YOUNG MAN.

*SI IUUV

yJ I

( Continued from page 19)

'S (A) Macbeth
( Mercury-Republic )

SHAKESPEARE has been interpreted in
various ways, but there’s never been
a noisier production of “Macbeth” than this
rearranged version of The Bard’s blood-
curdling tale of murder and revenge in
eleventh-century Scotland. Long before
the final reel, your ears will ring from all
the bellowing, accompanied by crashing
music and deafening peals of thunder.

Actor-director Orson Welles makes a
wild-eyed, primitive Macbeth, eaten by
remorse for the brutal slaying of his king.
It is Lady Macbeth, spiritedly portrayed
by Jeannette Nolan, who plants the evil
idea in her husband’s mind only to recoil
when he plots further crimes. In order to
remain ruler, Macbeth has Banquo assass-
inated but Malcolm (Roddy McDowall),
son of the murdered monarch, escapes. To-
gether with Macduff (Dan O'Herlihy), he
organizes an army to besiege the castle and
kill the tyrant. The stark Scottish land-
scape adds a weird note to a picture that
has its moments of high dramatic interest.

Your Reviewer Says: “Full of sound and
fury .

v' (F) Walk a Crooked Mile
(Columbia)

I NY time Dennis O’Keefe decides to give
ft up acting to become an FBI man, the
chances are he will be a great success.
He’s that convincing as Uncle Sam’s under-
cover agent on the trail of Russian atom
bomb spies in California. O’Keefe and
Scotland Yard detective Louis Hayward
pool their clues, make their brilliant de-
ductions and have many close calls in the
line of duty. Apart from their formidable
foreign foes, there’s the suave American
scientist who turns out to be a Benedict
Arnold, and his attractive assistant, Louise
Allbritton, under question, too. A swift-
moving, entertaining spy thriller.

Your Reviewer Soys: A double-barrelled
baffler.

(F) Road House
(Twentieth Century-Fox)

IF you think you have troubles, wait and
and see what Ida Lupino and Cornel
Wilde go through. It’s really grim! And all
on account of that no-good guy, Richard
Widmark. A road house owner, Widmark
works up a terrific peeve over the romance
between manager Wilde and entertainer
Lupino. Celeste Holm, a lovelorn lady
who gets nowhere with Cornel, hits the
proverbial nail on the head when she says
that, for someone without a voice, Ida
surely can put over a song. Whatever
else is wrong with this movie, there’s
plenty of action. In fact it becomes in-
crediblv melodramatic until, in the final
scene, the ill-starred lovers are in a worse
jam than ever.

Your Reviewer Says: Roughhouse in a road
house.

(F) The Gallant Blade
(Columbia)

LIFE is one duel after another for Larry
Parks. In this swashbuckling affair, he
is not only a gallant blade but a busy
one. Not too busy, however, to dally a bit
with fascinating Marguerite Chapman. To
be sure, when Larry thinks she has sold
him out to treacherous Victor Jory, he is
more inclined to kill than kiss her. Jory

plans to plunge France into war with Spain,
much to the displeasure of General George
Macready. As his valiant aide, Parks saves
France practically singlehanded. For all
its elaborate sets fairly swarming with
sword-happy characters, “The Gallant
Blade” is decidedly on the dull side.

Your Reviewer Says: Foul deeds dressed up.

'SY' (A) The Decision of
Christopher Blake (Warners)

BE prepared to weep when you see this
picture which movingly depicts the
evils of divorce. It has lovely Alexis
Smith and English actor Robert Douglas
(in his American screen debut) in the
leading roles. Ted Donaldson is their
deeply disturbed son who finds it so dif-
ficult to choose between them when they
decide to separate. As a highly sensitive
lad, given to nightmarish daydreams, Ted
turns in an admirable job. Cecil Kellaway
makes an understanding judge and John
Hoyt a competent attorney.

Your Reviewer Says: Effective drama on
divorce.

(F) Kidnapped

(Lindsley Parsons-Monogram)

THIS latest version of Robert Louis
Stevenson’s famous novel of the 1750’s
is a curiously flat and lifeless affair.
Roddy McDowall struggles with the role
of the orphaned young Scot, David Bal-
four. The boy’s villainous uncle, Houseley
Stevenson, seeking to cheat him of his
inheritance, has him kidnapped by Roland
Winters. That son of a sea dog plans to sell
the lad as a slave. But the ship is wrecked
and Roddy escapes together with Daniel
O’Herlihy, a political outlaw. The two
are joined by Sue England, a bonny lass
with a taste for adventure.

Your Reviewer Says: Tepid version of the
Stevenson classic.

y' (F) Rogue’s Regiment
(Universal-International)

f EVIDENTLY, Dick Powell enjoyed chas-
i ing those opium smugglers in “To the
Ends of the Earth,” for in this fast-paced
film, jam-packed with violence and in-
trigue, he is once more a clever American
sleuth operating in the Orient. This time
Powell is after Stephen McNally, an ex-
Nazi attempting to escape trial in Ger-
many by joining the French Foreign
Legion at Saigon. McNally finds a friend
in wealthy, unscrupulous Vincent Price.
The beautiful female spv is willowy, wide-
eyed Marta Toren whom you saw in
“Casbah.” But rest assured Dick gets his
man in the final reel and, lucky fellow, his
woman, too!

Your Reviewer Says: Spy hunting in Saigon.

Best Pictures of the Month

Joan of Arc
The Snake Pit

Best Performances of the Month

Loretta Young in "The Accused”

Olivia de Havilland, Leo Genn in
"The Snake Pit”

Ingrid Bergman, Jose Ferrer
in "Joan of Arc”

Rex Harrison in "Unfaithfully Yours”

Difficult — That's Me

(Continued from page 40) an early studio
call ahead, I don’t mind announcing I’ve

I got to get some sleep. If we are stuck at
a dull party, I’ll hiss in Ellie’s ear, “Honey,
let’s get out of here!” We do, but if I
were alone I’d not ease out the slow way
she prefers.

Ellie and I seldom go to Moc?mbo’s,
Ciro’s, or any of the other Hollywood
spots. For me those places are too jammed
and artificial; people go there to be “seen,”
not to relax. Being seen on the screen is
enough! The first time I ever took Ellie
I dancing we went to Earl Carroll’s and
before we knew it, everybody had cleared
off the floor to watch us. She is a mar-
velous dancer and I was expected to be
on a par with her. Sad, but I’m a young
Abe Lincoln when I get up to samba.

Shunning formal private parties is an-
other of my husbandly faults. To me “be-
ing in Society” means working at becoming
a phony. My goal is to not be in it! De-
pending on the nods and frowns of the
frivolous appalls me. I’ve found I can t
make any social contacts outside of the
movie colony, because people unfamiliar
with a studio’s erratic hours and demands
will never understand why actors can’t
fit calmly into plans for dinner parties
and weekends.

I DON’T even want “a congenial little
group” of Hollywood pals with whom
Ellie and I can gather regularly. That’s
“living” they tell me. Well, it may be. Yet
I’m living, too — in my own way. I suppose
this theory seems to be sheer stupidity,
particularly in the movie world where who
you know is supposed to far outrank what
you know. I won’t argue it; I’m commit-
ting a major crime in the view of ninety-
nine out of a hundred authorities. I don’t
care.

I have no “Hollywood” friends. I
like meeting new people, swapping expe-
riences and fun with them; yes. But I do
not look at every acquaintance as a
potential friend to be cultivated care-
fully. Real friends, in my book, are few.
They take a long, long time to develop. I
have a half-a-dozen I cherish. They have
liked me and put up with me through all
my low times. None of them is connected
in any way with the movies. One’s in ship-
ping, one in banking, one is a lawyer.
Their sincerity has been well proved.

As a Marine sergeant, with my hair
crew-cut, I was seldom identified as Glenn
Ford, which was the way I wanted it. I’ll
never forget one evening while I was in
uniform. I took Ellie to a swank hotel in
Coronado. We sat in the spacious dining-
room for exactly one hour and twenty
minutes — and no waiter ever came to take
our order! At last someone came over and
tipped me off that they didn’t want mere
enlisted men eating there, and that was
how they froze them out. A lot of us guys
had to take it on the chin like that, and
now we’re unimpressed with being smiled
at when we’re on a decent payroll. Re-
cently, Ellie and I stopped overnight at
that same hotel. The manager sent her
special flowers and me a fancy bowl of
fruit. We got the glad hand because we
were from Hollywood. I discovered my
true value in the service, so I take all
flourishes for the fleeting moment they’re
meant.

The quiet life the Fords lead is a
sacrifice on Ellie’s part, naturally. She’s
much more of a mixer than I am. After
living in barracks during the war I came
back with a terrible desire for privacy in
my spare hours. I’m the original stay-at-
home now. I have my own movie pro-
jector so we can see pictures without
going out. I have my record collection,

Are you in the know ?

Which gal would you ask to complete a foursome ?

□ A Suave Sally □ A numb number □ A character from the carnival

Your steady freddy asks you to produce a
date for his pal? Here’s advice! Choosing a
gal less winsome than you, can doom the
party. It flusters your guy; disappoints his
friend. Best you invite Suave Sally. You
can stay confident — regardless of the day of

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And your new, all-elastic, Kotex Sanitary
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How much should she have
tipped him ?

□ 10%

□ 25%

□ 15 to 20%

What clan does her plaid
represent ?

□ Frazer
O Macpherson
3 Black Watch

Don’t wait ’til a waiter wears that "why
don’t you do right” look. Hone up on tip-
ping! ’Taint what it used to be, so leave a
little extra on that silver tray. A 15 to 20%
tip pays off, in good service. And for certain
times there’s a special service Kotex gives
. . . your choice of 3 absorbencies, designed
for different girls, different days. It pays to
try all 3: Regular, Junior, Super Kotex.
You’ll find the one absorbency that suits
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For the Highland touch in togs — have a
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PERSONAL SAMPLE — In plain envelope. gg
Write Dept. N-J9, Room 2500t
l/>50 Broadway , New York 18t N. Y. m

pool table and a television set that takes
us to the fights and wrestling matches the
comfortable way.

But home isn’t a placid place! Let’s not
lie about it: I have the awful habit of
falling for fads. That upsets everyone
around me! Suddenly I seem to go crazy
and take off on tangents. I'm seized with
a new yen and a passion to excel at it.
When I was hottest over classical records
I gathered some seven thousand platters,
all personally and lovingly selected. Later

I took up stamp collecting. I bid personally
at every stamp auction in Los Angeles
and New York, knew every dealer. Then
lamps became my weakness and I cluttered
the house with fifteen very special beau-
ties we didn’t need. Pipes got me, so I
collected two hundred. This led on to
tobacco mixing. I haunted every tobacco
shop in town, sent to Ireland, England,
and Turkey for unusual blends, and then
sat up all hours painstakingly mixing
them. It appears if you let tobacco sit
under ferns it’ll take on an exceptional
flavor — I had six ferns in one room,
mothering my international tobaccos.

II Y enthusiasm over tomatoes was the

one that got the better of me. Tomato
plants are deceptively small. I happily
planted them in our front yard, back yard,
and between the bushes in our rose garden.
They all bloomed at once. We had to stew
them, store them, stuff them down us, and
give them away.

Only two weeks ago I had, I think, the
most wonderful bed in all Hollywood. I
built in every convenient gadget imagin-
able. Not only had my phone and books
on side shelves, my radio and electric
clock in the headboard, but I also added
a faucet there with running ice water.
The crowning touch was my television
set, installed at the foot of the bed. To
Ellie, however, it was the final straw. She
said the television set threw the whole
room off balance.

“Look, honey,” I cried to deaf ears, “I
can lie in bed with my head on the
pillows and just gaze at everything!” I still
have it only now it rolls away when I’m
not watching it.

I’m a worrier, totally lacking in the
gay, devil-may-care air. My fretting isn’t
about any of the conventional problems,
nor about what lurks in our tomorrows.
I just stew about my work. I think an actor
can portray the facets of life eloquently
only by maintaining contact with reality — •
another reason I don’t follow the so-called
“Hollywood life.”

This brand of concentration isn’t an
endearing trait either. On the sets I’m for-
ever asking if I can’t try the scene just
once more. As I drive home I keep re-

hashing the day’s work, reenacting my
scenes over and over to myself. Then I
bring my roles home with me. I read with
awe about the actors who don’t! I should
be self-disciplined enough not to, but I’m
plain moody, and when I get into a role
I live it as much as I can. When I was
playing a Civil War colonel I’d come home
and just sit and glare. The South could
not lose!

Ellie is always glad when I’m making a
comedy, for while it lasts I’m perpetually
sunny. While I was making “The Loves
of Carmen," Ellie had to say a number of
times, “Now Don Jose, I’m not Carmen,
so take it easy!” Then we’d both have
to laugh and I’d snap out of my ham-
ming for a while. After we saw “A Double
Life” she said, “You see what you could
come to?”

I have a miserable memory. I forget
everything that doesn’t interest me. My
wife grows desperate trying subtly to turn
on a light in this blank portion of my
brain. When she’s away on personal ap-
pearance tours, Elbe’s remedy is to park
a detailed appointment book beside my
bed. Its details are filled out minutely.
She writes down the smallest things — -
things only 1 could forget. I finish my
evenings by checking off: “Put the dog
out,” “Lock the front door,” and “Turn
out the lights.” That is, if I don’t forget to
read the book in the first place!

You’ve the right hunch about me and
anniversaries. They seem completely un-
important to me. A week before our
wedding anniversary, or Valentine’s Day,
or what-have-you-to-observe, Ellie makes
a trailer on the coming attraction by noting
it on one of the lists she’s constantly pre-
paring for me.

I don’t write letters. What’s more alarm-
ing, I'm one actor who admits he is an
absolutely sorry businessman. If you’ve
been propagandized into believing actors
are now all sane and shrewd about their
earnings, here’s the great exception. I in-
vested in a mine that was an absolute bust.
I let myself buy a piece of a prize fighter
who didn’t become a champ and pay off.
I thought financing a midget auto racer
was a bright scheme. So for discipline I’ve
tied myself down to required monthly
payments on my home and annuities. This
keeps me out of many money troubles I
could otherwise inflict on myself.

Now let me confess my greatest sin:
I don’t feel guilty enough about my faults
to reform! With so much asserted per-
fectionism rampant in this funny Holly-
wood, I hope this rates me as strictly
human. Like you, maybe ... If not, then
go right ahead, and moan, “Holy cow —
what a character!”

The End

listen to

GRAND OLE OPRY”

every Saturday night over NBC

Hear Red Foley sing his famous
folk ballads.

Read the story of Red Foley’s life
in the January issue of

TRUE STORY

magazine complete with full-color
autographed photograph.

Celeste Holm
makes happi-
ness a habit

MARY

JANE

FULTON

CELESTE HOLM, as you
know, won the Acad-
emy Award as the best
female supporting player
for her work in “Gentle-
man’s Agreement.” If you
missed her in that pic-
ture, you can see her in her latest one
for Twentieth Century -Fox, “Chicken
Every Sunday.” Besides having excep-
tional talent, Celeste successfully combines
her career with marriage to Schuyler Dun-
ning, head of American Airline’s Holly-
wood office. While we were teaing with her
at Delmonico’s during a recent New York
visit, she received a telegram from him —
all in double talk, which made it a private
message. He must have said something
funny, because she laughed aloud when
she read it. They’re always joking, she
explained. And she’s sure this is one
reason why they get along so well.

intimate Zracts

Too many married people, Celeste be-
lieves, take each other too seriously, espe-
cially where the little things pertinent to
grooming are concerned. A couple should,
of course, be so much in love that nothing
gets on their nerves. But Celeste feels
that if your man objects to your using his
razor, you should get one of your own.
They have razors for women, of course.
She advises, too, that you keep your hair
nicely in curl by giving yourself permanent
waves as often as necessary. And, she
urges, don’t leave hairs and powder in
the washbowl, not that these trifles alone
will hold a man. You must, of course, be
kind, considerate, thoughtful, and not nag
— even if he leaves the cap off the tooth-
paste and throws towels on the bathroom
floor! In other words, Celeste contends,
it’s a good idea to love your man for his
faults, too. She qualifies this statement,
however, by adding that it’s wise to avoid
opportunities for fault finding — by seeing
to it that there is ample closet and drawer
space, by keeping out of your husband’s
way by having a dressing table on which
to keep all your cosmetics, or a special
drawer or shelf in the bathroom. Then
there’ll be no reason for him to be an-
noyed with you — and, who knows, maybe
he’ll profit by your neat example.

Jefore your daughter marries
should you tell her

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INSIDE

STUFF

Time out for fun: Ed-
mond O’Brien, Olga San
Juan and Bob Stack
make minutes count
at a party get-together

Betty Grable, Preston
Sturges and Olga again —
on “Beautiful Blonde
of Bashful Bend” set

Janet Leigh and Bob Neal
dined together before she left for New
York to visit Barry Nelson

( Continued from page 15) came as no
surprise. They should really make a
film with Dan and call it “How Tired
Can You Get?” We watched him make
several scenes for “Chicken Every Sun-
day” and noted the weariness that
seemed to weigh him down. Only when
director George Seaton called “camera”
did Dan attempt liveliness. With the
endless weeks of dance rehearsals that
precede a Dailey picture, with the actor
sometimes rehearsing for one movie
while making another, plus his misun-
derstanding over the Friar benefit, it’s
no wonder he decided to call a halt. The
pity is the publicity that follows such a
drastic measure. When will Hollywood
ever wake up and realize an actor is a
human being and not a machine?

Round-Up: The way Humphrey Bogart
drives Lauren Bacall up over lawns,
curbs, around trees and down grades in
that new bantam car of his, you’d never
P dream they were expecting a baby . . .
Hollywood wonders if being an aunt to
sister Joan Fontaine’s baby will cause
Olivia de Havilland to forcet their dif-
b4

ferences. Joan’s husband, Bill Dozier,
certainly hopes so . . . Veterans who
receive visits from lovely Elizabeth
Taylor never stop talking of her beauty.
Neither do the Hollywood lads, either . . .
As usual, Jimmy Stewart claims he has
no wedding plans when Gloria McLean
is mentioned but take it from us, Jimmy
likes her better than any girl he’s met
in a long time. You should see him
look at her!

Red Skelton: As a comedian in Holly-
wood, Red Skelton is unique. He’s neither
feverishly apprehensive over material
nor hopelessly wed to his job of being
funny. He’s the most naive of the funny
men, never given to smut in either his
everyday or professional dialogues. Like
a kid, he loves circuses (his father was
a clown). A real camera fiend, he spends
most of his off-screen, off-radio time end-
lessly taking pictures. Once at a theater
opening, it was discovered that the NBC
cameraman hadn’t showed up. Red, who
never goes anywhere without his camera,
pitched in and did the job for him. He
lives in Bel-Air with his wife, a non-

professional, and his two babies, Valen-
tina Maria and Richard Freeman who,
without yet knowing it, pose endlessly
for their father. He listens to every
word of advice from his ex-wife, Edna
Skelton Borzage, a farseeing woman
who helps write his programs. He puts
on a half-hour show after every radio
appearance that kills the customers who
know that with the advent of television,
Red, with his flexible features and abil-
ity to transform himself into any char-
acter with a single gesture, will top them
all. He never says an unkind word about
anyone. He respects the talents of other
comics and laughs long and loud at their
jokes. He possesses a wistful something
that lends reality to any character he
plays. Six-feet-two, brown-eyed, dim-
ple-cheeked, red-gold hair, he’s the
handsomest of the funny men and never
suspects it. He’s unbelievably simple
and regrettably sorry for you if the pic-
tures given him don’t measure up. And
when you laugh your head off at “The
Fuller Brush Man” or “The Southern
Yankee,” he’s pleased because you’re
pleased. He’s a goori Tr,e.

BY ERSKINE JOHNSON

Tune in Erskine Johnson’s “ Hollywood
Story,” Mutual Broadcasting System,
Wednesday, 9:30 p.m., E.S.T.

FOR twelve years, William Powell has
been having an argument with his dog,
the lowest-slung dachshund I have ever
seen. The dog still barks at Powell when
he comes home at night.

“If a burglar knocked at the door,” says
Bill, “the dog would lead him to the safe
and the family silverware. But when I
walk in he barks. So I just bark back.
We’ve been doing that for twelve years.”
* * ❖

James Mason’s widely publicized love
of cats is consistent. He wound up a letter
to Charles Chaplin concerning “Monsieur
Verdoux” with: “Needless to say, my wife
and I were delighted to note that Verdoux
had the right attitude toward cats.” ( Blue-
beard Verdoux murders his multiple wives
but scolds his young son for pulling a cat’s
tail.)

* * *

Not in the script: “My only fear in

Hollywood is the close-up. Every time I

shake my head, my nose keeps getting
out of focus.” — Jimmy Durante.

* * *

Someone told Abe Burrows that there
was a noiseless popcorn bag on the mar-
ket. “A noiseless popcorn bag?” said Abe.
“Hooey. Tell ’em to make ’em noisier. I

can still hear the dialogue.”

* * *

Doris Day tried to look sultry when she
first arrived in Hollywood to crash the
screen. But it wouldn’t work. Doris says:
“I tried making like Bacall and Lamarr
and keeping my eyelids three-quarters
shut. But it looked silly and I ran into
things because I couldn’t see. So I opened
my eyes and then Hollywood discovered
me.”

* * *

No hamming allowed at the Joan Fon-
taine-Bill Dozier home. Whenever Joan
goes into an overdramatization of anything,
Bill cracks: “Watch it, Smithfield.”

* * *

Because of various and sundry obsta-
cles, a kid picture took about two years
to make. The juvenile hero was a boy
of twelve at the start. “We finally man-
aged to get the film in the theaters,” a
make-up man said, “but we had to shave
the boy first.”

* * *

Pat O’Brien and Gene Fowler were dis-
cussing a certain Hollywood director noted
for his fisticuffs while in his cups and also
for the fact that he usually gets knocked
flat on his face.

“Has that guy ever won a decison?”
asked Pat.

“Once,” said Fowler, “against a door.”

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- — —

HEDY OF HOLLYWOOD

6253 Hollywood Blvd., Hollywood 28, Calif.

from friendly shelves

and pages

One of the many things that makes
home the best place in the world is
the array of old and trusted friends,
always there to greet you ... in the
kitchen cabinet, the medicine chest
and on the shelves of the household.

Every family has its coterie of
favorite brands, familiar packages
and products that have made life
comfortable and enjoyable for many
years. No two family assortments
exactly match — and that is as it
should be, since tastes differ. Your

Photo by Underwood & Underwood

brand friends mirror your tastes
and unique requirements.

The circle is by no means so ex-
clusive that new brands are not
always welcome. Every so often an-
other name joins the trusted group.
You greet new candidates for your
loyalty with open minds and a ready
welcome if they “make good.”

This magazine, too, is brighter for
the messages of many of your old
brand friends and quite a number of
new ones asking for your friendship.

*lFia cfladi leu iillica t ions, incorporated

205 East 42nd Street, New York 17, N. Y.

Picture Yourseli os a
Hollywood Beauty

Well — why not? What has a movie star got
that you haven't got? —

"Look at yourself in the mirror. Why, you'd be
lovely if you didn't have those big hips, if you
didn't have a protruding stomach, if, if, ifl
Well, knock those its’ in the head. Start to
work! Set busyl Use your brains, your com-
mon sense and courage!"

The above paragraph is from Sylvia of Holly-
wood's book No More Alibis — a truly amaz-
ing, stimulating and inspiring book. A book
that should be required reading for every
gal — regardless of age. For here in 128 pages
Sylvia gives you her most successful beauty
secrets. She tells you how she helped many
of Hollywood’s brightest stars with their fig-
ure problems. She names names — tells you
how she developed this star's legs — how she
reduced that star's waistline — how she helped
another star to achieve a beautiful youthful
figure.

Bear in mind that all of Sylvia's instructions
are simple to follow. You need not buy any
equipment whatsoever. You can carry out all
of Sylvia's beauty secrets right in the privacy
of your own home.

tThis book formerly sold
for $1.00 in stiff-back
binding. Now published
in paper cover you get
the identical information
for only 50c and we pay
the postage. Send for

Bartholomew House, Dept, PH-149
205 E. 42nd Street, New York 17, N. Y.

Send me postpaid a copy of No More Alibis
by Sylvia of Hollywood. I enclose 50c.

Name

Please Print

It Will Be a Grand New

( Continued, from page 37) couldn’t get a
job. He starts 1949 with a job and Wanda.

If . . Ingrid Bergman breaks down

with the press. Ingrid is a very intelligent,
charming person and a swell interview —
if you can get her. If! And when you do,
she’s usually in a desperate hurry to go
somewhere else. So, when she gets a bad
picture like “Arch of Triumph,” the press
is in a hurry — to write the truth. How
about a new resolution for 1949, Ingrid —
to win the Golden Apple as the most popu-
lar Hollywood actress in 1949.

If . . Linda Darnell can restrain her

huge appetite so she can keep her figure
without ruining her health with reducing
pills. Nature intended Linda to be plump.
Fate made her a film star. Linda’s in the
middle. I hope Santa fills her stocking
with willpower.

If ■ - Betty Grable stays on top at the
box office. And if her mate, Harry James,
can hang up his trumpet and get a job
that will keep him at home. The way it
is now, Harry spends six months of the
year on the road, while his blonde Betty
languishes alone with the children.

If . . . Jeanne Crain makes more movies
like “Apartment for Peggy.” Jeanne has
always been a fine little actress, but in
this one she is sensational. And 1949 will
be really wonderful if Edmund Gwenn,
Jeanne’s co-star, gets back into the good
health groove.

If .. . Ronald Reagan finds happiness
with another woman. Jane Wyman di-
vorced him in 1948 because she was bored
by him. That seems a heck of a wrong
reason to shed the father of your children.
Of course Ronnie did give a lot of his time
to different committees for this and that,
but real love is understanding. So I guess
it wasn’t there.

If . . . Fred MacMurray breaks down
just once and gives an interview that has
a “bite.” I mean it will be a grand year
for columnists!

If .. . Ava Gardner says “yes,” the next
time Howard Duff asks her to marry him.
Duff has been trailing Ava for more than
a year. He sets the sun, moon and the
stars according to his dream girl’s smile.
But that’s as changeable as a politician’s
promise. “I want to be a top movie star
before I marry,” Ava always tells me.

Year in Hollywood IF . . .

If . . Rory Calhoun will get a movie
to match his- popularity with the bobby-
sox crowd. So far it’s been publicity and
paltry parts in pictures. Whether his mar-
riage to Lita Baron will help or hinder
will be answered fully in 1949.

If . . . Lew Ayres won’t be so gosh
darned sensitive every time something is
written about him. Most of the Hollywood
reporters are kind but when they link
Lew with Love he screams. Lew has been
married twice — to Lola Lane and Ginger
Rogers. Maybe he’ll do it again for luck
in 1949 — with Jane Wyman?

If . . . Gail Russell and Guy Madison
will stop their adolescent game of pre-
tending they are married or vice versa.
This has been going on too long to be
amusing. I can visualize the day in 1949
when a breathless Guy or Gail may call
to report, “We’ve just gotten married.”
And I can hear a chorus of “So what!”
from the Fourth Estate. But to be more
cheerful for a minute, it’s a cinch for them
to wed, as they are so obviously in love.

If .. . Lana Turner cuts out the high liv-
ing after her baby is bom — and before —
and refuses to pose for any photographs
that show her with an added chin. It will
be a grand year for me personally if Lana
returns soon to Hollywood because I like
her and something is always happening in
her vicinity.

If . . . Judy Garland puts her personal
compass on an even keel and finds emo-
tional stability. In 1948 Judy behaved like
an erratic thermometer. One day she’d hit
a hundred in friendliness — the next it
would be below thirty in aloofness. Judy
gets mad when you tell her she is too
thin. But if she will only gain a few
solid pounds they might act as a buffer
for her taut nerves and insomnia.

If . . Janet Leigh changes her name to
Mrs. Barry Nelson. Janet, the most popu-
lar young actress in Hollywood, is madly
in love with Barry, as of this writing. Her
radiance is almost blinding. She will not
be free to marry, however, until the late
summer of 1949.

If .. . Victor Mature manages to hang
on to his third matrimonial effort. There
have been some hectic goings-on in the
Mature menage for the past six months.

“TRAINS DON’T RUN ON HOT AIR.

Neither does America. Talk is OK,
but it’s the work, like voting, that
makes America the best place in
the world. Remember— you’re not
just a passenger. You’re the engineer
conductor and the steam behind
the works!”

MR. JOSEPH J. BODNAR

64 Hawthorne Avenue
Yonkers, New York

S3 tt&POM /s e/eweows joe/

Address

City ... State

But I honestly believe that Victor loves his
Dorothy. She’s good for him. And Vic,
with his vital personality, is a powerful
battery to recharge Dorothy’s delicate
health. Besides they are in love with each
other — as of this writing!

If .. . June Allyson and Dick Powell
take all of their 1949 vacations together.

If .. . Jimmy Stewart finally breaks
down and takes unto himself a wife. Jim-
my will be forty-one in May. Just before
he reached the forty mark, Jimmy solemn-
ly assured me that the time had definitely
arrived for Stewart to find a wife.

So I watched and waited. Would it be
Myrna Dell? “We go together for laughs,”
Jimmy told me with his usual candor.

Myrna harrumphed and walked out

of his life. Will it be Gloria McLean
in 1949?

If .. . June Haver wins a church annul-
ment from Jimmy Zito — she divorced him
in California during 1948. And if
she marries Dentist John Duzik, the

man she should have married the
first time out.

If . . . Margaret O’Brien realizes that it
is not fair to disapprove when her mother
wants to marry again. The very attractive
thirty-ish Gladys received two proposals of
marriage to my knowledge during 1948.
One she turned down because she didn’t
like the man. The second suitor was re-
fused because Maggie doesn’t want her
mama to marry. That’s all very well for
now. But what kind of lonely life looms
for Mrs. O’Brien in, say 1957, when Mar-
garet will be nineteen and probably mar-
ried, with a life of her own?

IF .. . Burt Lancaster gives up his awful
idea of retiring as a movie actor to direct
and produce pictures. Here a guy comes
along who oozes personality, an honest

actor and a pleasure to watch and all he
talks about is “When I retire”!

If .. . Jennifer Jones gets off that high
horse and reverts to the easy-to-get-
along-with gal she used to be during her
“Song of Bernadette” days. It is one of the
more painful parts of my job to talk to
Jennifer once in a while to get a line on
her private and professional plans. It’s
like talking to a little piece of unbottled
air. There’s nothing there. Not only for me,
but for everyone. Jennifer takes it on the
lam like a frightened fawn. Maybe she will
change — I hope — when she is actually Mrs.
David Selznick and the “if” or “maybe”
has been removed. The wedding is sched-
uled for early 1949.

If .. . Esther Williams announces that
she is expecting a baby. The pretty swim-
ming-champ movie star doesn’t talk about
it any more, but the loss of her expected
baby last year is a tragedy that can only
be cured when the stork comes calling
again

If . . Elizabeth Taylor gets the word,
“Come to Korea.” Lizzie’s heart lies in a
little silver football she wears around her
neck. It’s inscribed with the name of Glenn
Davis, the all-American Army football
player. When Elizabeth and her parents
said goodbye to Glenn when he left
for duty in the Pacific, the sixteen-
year-old star promised him solemnly that
she would wait for him — forever, if neces-
sary. It will be grand* if the wait has a
1949 ending.

If .. . Frank Sinatra can actually ac-
cumulate some of the million dollars he
earns annually. I keep hearing that
Frankie not only can’t save anything, but
that he is always behind with his income
tax payments. It sounds incredible and I
hope it’s just one of those Hollywood
stories.

If . . . Larry Parks makes a lot of movies
without the costly interruptions of law-
suits.

If . . . Van Johnson does not make any
matrimonial headlines. It isn’t easy for
Van and Evie to settle harmoniously into
wedded bliss, not with the hurdles and
headlines they had to battle at the begin-
ning. But they are two swell people and
if they get through 1949, the future is a
cinch.

If .. . Mrs. Glenn Ford really means it
about retiring from her dancing career.
Glenn wants her at home. And Farley
Granger’s career goes into the high gear
promised by the man in the driver’s seat
— boss Sam Goldwyn . . . and Peter Law-
ford would get back to being a nice kid
again . . . and Gregory Peck could fire
all the producers who own slices of the
Peck pictures and make a few dollars for
himself — it sure would be a wonderful
1949.

And if, every time a Hollywood star gets
into a jam, it is understood by the public,
that for every screwball here, we
have a hundred decent movie personali-
ties who don’t make news because they
are normal.

And above all, it will be a grand
New Year in Hollywood if the great
and black shadow of fear is finally
erased from the movie capital of the
world. It will be a great and terrific
year if men and women in all stratas
of the Hollywood scene can wake up in
the morning without dread of losing their
jobs because of a foreign quota law, or
fear of losing their good characters because
of distorted whispering campaigns inside
the U.S.A.

So goodbye to 1948. I don’t think it will
be missed in Hollywood. WELCOME 1949!

The End

IT TASTES GOOD-
IT’S GOOD TASTE

( Continued from page 26) I am. Every-
thing she is and all the happiness she
enjoys, she credits back to her wonderful
parents. I like that, because the pivot of
my life has always been my old home with
my dad, mother and brother.

Right now, as I dream up these notes
beside our pool, she is tearing off in her
car for the village of Pacific Palisades to
buy a birthday gift for her mother. It is
now five-twenty. She will arrive at the
store two minutes before closing — or two
minutes after — and go round to the back
to pound on the door. She will buy several
gifts for her mother, a few hundred trin-
kets for the house and a present for me.

“What you buying for me, sweetie?” I
yell as she leaves. “Nothing,” she yells.
“I’m just going to the hardware store.”

Well, I muse, she’ll probably buy me just
what I’ve always needed — a new Boy Scout
knife.

We’ve never stopped buying presents
and dating one another. And whenever we
get a week or two free, we go on another
honeymoon. With her picture schedules
and personal appearance tours, my radio
programs, we have had to scheme to match
time for trips. But we have had five honey-
moons in three years, since our wedding
day, November 25, 1945.

When she is away on personal appear-
ance tours I like to surprise-date her by
airplane. She’s like a kid about surprises.

It was a surprise date that acclimated
me to being a star’s husband. I had no
idea how carefully a star is protected.
All telephone calls are screened. No vis-
itor gets to her without running a line.
She is guarded like a precious piece of
porcelain, surrounded by press agents,
secretary, maid, dicks, harness cops and
motorcycle squads. All this precaution is
most gratifying to a husband until he
finds she is protected from him, too.

Esther was doing five shows a day in
New Haven, Connecticut, with “This Time
for Keeps,” when I made up my mind to
see her. After my Saturday evening Joan
Davis broadcast, I grabbed a plane and
arrived next day in New Haven.

I called her hotel as soon as I landed.
The alerted operator at the switchboard
asked who was calling Miss Williams,
please. “Her husband, ” I said.

The love scene all Hollywood is talking
about: In “The Fountainhead,” Pat Neal
stares into mirror as Gary Cooper . . .

Easy to Love

“Her husband, oh sure,” said the op-
erator suspiciously. “That’s a new one.
What’s Miss Williams’s husband’s name?”

I said, “Ben Gage.”

“I know,” said the operator. “And Mr.
Gage is not in New Haven, he’s in Holly-
wood, because I heard him on the air with
Joan Davis last night.”

Click! I was cut off that line.

I called back and explained I had flown
3300 miles just to date my own wife;
surely the operator would reward such
devotion by letting me say hello.

“Well,” she said doubtfully. “I’ll call
her room and let you talk to her secre-
tary.” Her secretary proved just as skep-
tical. Sorry, Miss Williams had just left
for the Yale gymnasium.

“The Yale gym?” I honked. “My wife
doesn’t attend Yale.”

“She is being made Honorary Water Girl
by the Yale team,” the voice said. “You
might see if you can gain admission to the
Yale gym.”

“What do I have to do, get on the Yale
team?” I howled.

I WAS getting a little worried. I only had
a few days to be with her and one of
them was rapidly disappearing. I sped to
the hotel and joined the crowd that
watched her as she came out and got into
a big limousine.

“Hi, Esther!” I yelled. “Look.”

“Move along, bud,” said a cop.

I decided to cool off with a Coke. This
was going to take some fast action. I knew
I couldn’t make the Yale team in time to
see her become their Water Girl.

After the third Coke, I had an idea. I
skipped around to the theater where she
would appear after Yale honors had been
bestowed. The stage entrance was guarded
and no Mr. Gage appeared on the day’s
agenda.

My coked-up scheme was to bribe an
usher to let me carry flowers down the
aisle to the footlights. The usher wasn’t
interested in the offer of my autographed
photograph but responded to Lincoln’s
likeness on a fiver autographed by John W.
Snyder, Secretary of the Ti-easury.

At the conclusion of Esther’s show, which
I was permitted to watch from the rear of
the house, I waddled down the aisle, my

enters her room. Destined to fight the

attraction they feel for each other, Pat
runs from him, falls against the bed . . .

six-feet-five’s worth of arms and legs tele-
scoped as far down into the bouquet as
nature permitted. For once, Esther’s being
a little nearsighted came in handy, but I
was afraid she might recognize my bulk. I
wanted to surprise her up close where the
cops couldn’t give me the bum’s rush again.

Covering my face with the roses I walked
upon the stage. She graciously thanked
me and started away. When she saw I re-
mained on the stage, she turned to look
again. “Yeeeeee. Ben!” she screamed, with
a beautiful double take.

The audience took it large though some
of them probably suspected it was a gag
for the show.

Fun is the basis of our married life. We
put on our best shows for one another.
I get lines for my radio show while kid-
ding around with her in our little pool.
It’s just a three-stroke pool, but it’s a good
joke basin for a couple of happy perform-
ing seals.

When I say I not only love Esther, I
like her, people ask what I like most
about her. She laughs„at my jokes, I say.

But above all, I like her because she
loves people as I do. This afternoon a
guest of ours called a taxi. When it ar-
rived, Esther sang out to it, “Hello, driver,
come on in.” We get to know the best
people that way. As with the Mexicans
whom we love, our house is your house. A
while ago, I heard a motorcycle come put-
putting up the road and stop outside the
hedge which screens our garden.

“Who’s that?” I said.

“Oh, that must be my little man in the
hedge,” Esther said.

“You got a little man in the hedge, dar-
ling? How long has this been going on?”

“Oh, for several weeks now. I saw him
there in the hedge, while I was swimming
in the pool one day,” she said. “I asked him
what he was doing there in the hedge and
he said, ‘I am watching you swim. Is it all
right?’ I said, ‘Yes, it is all right but don’t
step on my begonias’. The little man said
he would be careful.”

While Esther was working in “Fiesta,”
on location in Mexico, we celebrated
Christmas there and went all out for the
country, especially for Acapulco with its
grand swimming and fishing. We saved
up pesos and bought a cottage — not a

but she cannot escape the great magnet-

ism that exists between them. Even a-
shc resists, she yields to his embiace . . .

hacienda, please — but a very small cottage
way up on the cliffs overlooking the sea.
Just a couple of bedrooms, kitchen and
vast porch that serves for a living and
dining room.

This Acapulco place is our second
honeymoon casa. The first is a small brown
shake cottage that hangs by its brows to
a hill in Pacific Palisades. It was an old
house hidden in acacias, two stories with
two bedrooms on the entrance floor, a liv-
ing room, dining room and kitchen below
on the garden level. We reshaped the
interior with our own hands, making it
comfortably early American — American as
rocking chairs and flapjacks.

ON OUR last honeymoon trip to the casa
at Acapulco, we went exploring down
the Mexican coast. We had heard of a fine
white beach, thirty miles away, where
there was fine bass fishing at the mouth
of a rivulet. The manager of a hotel at
Acapulco assured us the roads were ex-
cellent and that we would find showers
and bathing facilities at the beach.

We hired a beat-up old car. Esther had
met two American girls who were spend-
ing their vacation in Acapulco and she
invited them to come along.

The excellent roads lasted three miles.
Then we started boulder jumping, the car
shuddering and the occupants churning
like ingredients in a cocktail shaker.

When we got to the fine white beach,
it was mud. A hurricane had preceded
us. The surf was so high we couldn’t
swim. We took a dip and then went for
a shower. The shower didn’t give. We
remained coated in brine and barnacles.

“We might try fishing,’’ Esther said
brightly.

The fish obliged. They had been land-
locked by the surf in the mouth of the
rivulet and were probably bored. Any-
how, six or seven climbed onto our hooks.

Night came down before we were aware
of it. The thought of jeeping back to
Acapulco on those rocky roads caused me
to scrounge for a telephone. I called the
Acapulco airport and they agreed to send
a plane. When it bounced down on the
little clearing, we found it could accom-
modate but two passengers. Esther in-
sisted that our girl friends must take it
because they had only one day of vaca-
tion remaining. The plane promised to

return for us. It returned all right, made
three passes over our heads and flew away
toward Acapulco. Landing in the dark
was too hazardous on the small field.

Esther and I hippity-hopped back to
Acapulco in our jeepy-heap. It took us
two hours. We were coming apart like
the car when we arrived. But not a nasty
word from my wife. The nearest she
came to it was when she walked up to
the hotel manager and said: "About your
roads . . .’’ But she smiled when she said it.

We were to be guests at a party that
night.

“Shall we call it off?” I asked.

“We can’t,” Esther said. “We promised
we’d be there and they’ll wait dinner for
us.”

The party went on past midnight. I
comforted myself with the thought of
sleeping a solid day. My comforting
dream was short. Esther recollected we
were due as honor guests aboard an
American naval craft that had arrived
from the East. Her old refrain: “We
promised!”

After a few hours sleep, I still felt worn
and torn but Esther looked fresh as a
daisy. She was the only woman among
the fifteen enlisted men aboard the ship.
I could see them standing back, waiting
for her to be a movie star. Their lan-
guage and manners were guarded and
formal. Three minutes after she came
aboard, she was looking at pictures of the
cook’s wife and babies. They forgot them-
selves, it became a family party. That’s
Esther, she makes it home wherever she
goes. Someone has defined good manners
as just showing your good heart. Esther
is more than natural; she’s transparent.
There are no barriers between her and
people, her heart is there to see and it’s
a good one. The best definition of her is
herself, up there on the screen.

Late that afternoon we loafed together
on the beach. The day was dreaming off
into twilight. White wings of birds flecked
the blue sky. It had been a perfect day
and I had been awfully proud of her on
shipboard. Now we were alone at last,
relaxed, on our playa encantada — en-
chanted beach. The surf made music like
Lohengrin and I looked up to her and
said, “How many honeymoons can you
have?”

The End

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( Continued from page 33) we were
moving.

I hurried down for a last-in-the-house
breakfast. Bob grinned, “Come on — stack
it up, Doll. Lots to do today.” Uncle
Buck said, “Well, Queen, another move!”

I must tell you about Uncle Buck. He
was a member of a song-and-dance team
I used to watch as a kid at the old Liberty
Theatre in New York City. My big sister
Millie used to work in the chorus there
and I haunted the wings, building my am-
bitions and loving every moment of it.
Uncle Buck first encouraged me in my
dancing. He’d talk about show business
and when he went out to the delicatessen
on Broadway to get a snack for the theater
gang, he’d take me along. We had a regu-
lar little routine. Uncle Buck would ask
me what I wanted and I’d always answer,
“A turkey leg.” “Turkey leg, huh?” he’d
say, as though it were a surprise — then —
“Well, Joe, give the little lady the finest
you got. She’s going to be a big star some-
day.” I knew he was my friend. It seemed
then I was always hungry. I thought when
I became a star as Uncle Buck said I
would, I’d be content to have only what
I really needed.

ONLY what I needed! In these last busy
weeks of getting ready to move, I came
across mountains of things — things stored
away for the day when we built the new
house. The movie projector, the Steuben
glass — things like that.

Acquiring that Steuben glass was quite
a complicated process for me. Several
years ago, I decided, for some unknown
reason, that I must have a complete serv-
ice for twelve. My business manager, that
king of “no, no” men, said I couldn’t afford
it. I argued. Reasonably, he said, “Why?
You don’t need it.” I countered, “But I
want it.” I remembered the day when I
had pressed my nose against the Fifth
Avenue window where Steuben’s glitter-
ing display sparkled, gazing at the wonder
of the incomparable glass, never realizing
that some day a man would tell me — a
star — that I couldn’t afford it. He was right,
of course, but I have determination. I
decided I’d buy just a piece at a time
out of the allowance I’m permitted. It
wasn’t long before I realized I’d be ninety-
nine before I achieved that full glass
collection. So I mentioned one day, casual
like, that if anyone was aching to give
me a birthday or Christmas present, why,
some Steuben glass such as salt-and-
pepper shakers would be just fine. Before
my birthday was over I was saying, “If
one more salt-and-pepper shaker comes
through this door, I’ll hang myself!” But
I was glowing. One, because I was touched
that so many were so generous and two,
because I love all my Steuben. I got it in
such quantity that I’ve never been able
to unpack it all — there wasn’t room in the
small house in which we’ve been living!

This morning, with the moving men
breathing down my neck, I walked over
to the closet and took inventory of some-
thing else I don’t need. Those rows of
dresses and suits. But even these new
things bring back memories and I found
myself thinking of the first really warm
winter coat I ever owned. I had had two
jobs at once. One spot at the Shubert
Theatre and another at a floor show at the
Everglades, a night club just a block away
from the Shubert. The timing was such
that I could do my stint at the theater,
frantically rush out of that costume, run
through the snow and slush to the night
club, rush into that costume, do my stint
and tear back to the theater. It was quite
a routine and I had to have a coat to
protect me against the bitter wind sweep-

Moving Day

ing over my feverish body. I bought the
coat on the installment plan and prayed
the two jobs would hold out until it was
paid for. They did. Since that time no coat
has ever been so treasured.

I turned from the closet just in time
to see the movers taking down my Paul
Clemens painting of a dancer in her dress-
ing room after an exhausting performance.
Each time I look at it I feel as I did when
I first saw it and knew I had to own it.
Clemens created that painting with perfect
understanding. I know, because my feet
have been that tired. The painting brought
back the memory of the moment when my
luck turned me from a weary chorine into
a definite personality. The story has been
told often, but I never tire of it — just as
I never forget Willard Mack, who taught
me so much. Take, for instance, the open-
ing night of “The Noose.” When the cur-
tain came down, everyone in the company
knew with dismal misery that the play was
a flop. But Willard, undaunted, went right
to work He changed the whole motiva-
tion, rewrote that tiny part of mine into
the character.

We didn’t leave the theater during those
twenty-four hours of hectic rewriting and
rehearsal — but countless cups of coffee
later, when the curtain had come down
again, Willard Mack, master showman,
playwright and director had proved him-
self again. “The Noose” was a hit. An ex-
hausted but happy company trouped off
the stage. Mack stopped me, shook my
hand and said, “Ruby Stevens is no name
for a star.” He glanced at the backstage
walls covered with yellow playbills from
old attractions. From two of them his
quick eyes built a combination. He grinned.
“Hello — Barbara Stanwyck.” There I was,
an ex-chorine, started on a long road.

(THOUGHT then that I’d come a long
way from the day when my sister Millie
stood with me, clutching a hatbox which
contained all I owned. We had just become
orphans and Millie, though she made a
precarious living as a chorus girl, was
determined to take the responsibility for
me. She took me on that dreary day to
meet the family in Brooklyn with whom
I was to live. Every Friday, after school,
I’d take the subway to New York to spend
the weekend with Millie who was staying
at the old Palace Hotel. She was dancing
in “Glorianna,” playing at the Shubert —
that’s where Uncle Buck came in and my
dreams of stardom began. Those were the
days when Ruby Stevens would gladly
stay with someone’s kid to get nickels and
dimes so she could go to the movies. Yes,
I was a movie devotee — passionately ad-
miring my heroine, Pearl White. Then I’d
go over to Prospect Park and jump off the
rocks, trying to imitate the brave Pearl.

Yes, moving day was memory day for
me. Maybe it’s that way for everyone.
Amidst all the other confusion of that
morning the phone rang. At a time like
this, no call was welcome, but this was a
call for me to appear on the Lux Theatre
of the Air. My hectic schedule for the next
few weeks drew only a moment’s hesi-
tation. Lux Theatre has priority on my
loyalty. You see, there was a time when
I earned the title of “suspension queen”
of Hollywood. One by one I had turned
down scripts which I felt were not right
for me. Naturally, with each refusal, the
studio placed me on suspension. I had no
backlog of savings. So I had to earn money
somehow while I wasn’t being paid. Danny
Danker, who before his death handled the
Lux show, heard about my stubborn self-
created plight. With the warmth of under-
standing which marked him, he told me
not to worry, I was welcome in radio. I

was cast time after time in the Lux shows.
With those checks I was able to hold out
until I was offered a role into which I
could throw my wholehearted enthusiasm.

So I had a Lux show to do. And piled
on a table were several scripts I had to
read. Since the completion of “Sorry,
Wrong Number,” I’ve been reading scripts
like mad — looking jor my next picture.
It’s sort of like looking for a job.

(REMEMBER, humorously now, though
I didn’t then, my job with the Conde
Nast pattern department. Pattern custom-
ers frequently ask advice before they go
home to whip up their own creations. I
was a salesgirl bubbling with such advice.
And I gave of it freely. That imagination
and not experience prompted my sugges-
tions didn’t bother me at all. The inaccu-
racies descended upon my proud young
head when customers came back complain-
ing that I’d caused them to ruin perfectly
good material. When I was fired, I bought
a pattern and some material, intending to
prove that my deductions were better than
printed instructions. I deducted my way
through gussets, plackets, facings and
darts. I achieved an incredible garment —
part of it would have fitted Sydney Green -
street and part of it Margaret O’Brien.

While I was cleaning out my desk for
this moving day, I took out the little New
Testament I keep there. I’m not a hoarder,
but a few things have moved with me
through a lot of years and I wouldn’t part
with them for anything. Holding this Test-
ament, I remembered the Dutch Reformed
Church in Brooklyn, where I presented
myself for baptism at the age of eleven.
It was such a quiet little place and the
pastor, Reverend George Carter, was so
kind. He gave me the Testament after he
had written on the fly-leaf, “In all thy
ways acknowledge Him.” I’ve forgotten
that too often. But I’ve remembered it
often, too. Without Him would I have
all these contrasting memories?

In the back of the Testament is an old
report card. I used to sign mine myself
and envy the kids who had parents to
sign theirs. Today, I thought of all the
times I have been asked for autographs
and laughed at how I had to sneak some
of those early signatures. I thought of
Public School 152 — a place I hated except
for a lovely teacher, Miss Phair. She was
wise and gentle, understanding and patient
with a dumb kid named Ruby, who hated
so many things so earnestly — things like
studying and not having any parents or
pretty clothes. Ruby, who lived in a fan-
tasy world, self-created. Who defensively
jeered at all that Miss Phair tried to teach
her. Today I thought of how right she’d
been when she warned me in her soft,
undemanding voice, “Life will deal you an
awful blow, Ruby, unless you come down
out of the clouds.” I wish I could tell her
how all these long years later, I remember
her and her help and how, in some of the
tough spots I found I had heard what
she said when it seemed I wasn’t listening.

Tonight in our new house, move-weary,
Bob and I sat down in the midst of piled
furniture and knickknacks and surveyed
our possessions. However, our ever-
present coffee maker was doing its job
and I thought, adding up the memories,
that life had been pretty generous to us.
I thought how Spangler Arlington Brugh
from Nebraska and Ruby Stevens from
Brooklyn had come a long, long way to
meet and merge their backgrounds, tastes,
careers and ambitions. I thought, too, how
our story is typically American — as realiz-
ing the dream of the founders of our
country — we have pursued our happiness.
The End

Her Divided Heart

( Continued from page 49) “Angie had
better show it,” Hermes decided. After all,
Betty had barely learned the steps. At
two o’clock, the producer came in, followed
by a retinue of all the most important
people on the lot.

“Angie!” the assistant director bellowed.
I was sitting next to Betty, muttering not
so much to her as to myself, “I can’t, I
just can’t, I’m too scared.”

“I’ll do it, kid,” Betty put in at this
point and whirled onto the set. She did
the whole routine with great style, feeling
no pain. Right after “what a dancer” in
my little book, I wrote down “what a pal.”
Somehow I knew that she would be em-
barrassed if I thanked her. So I didn’t.
But without words we both knew that
everything was going to be just fine.

Four more pictures went over the dam
before Betty really let her hair down with
me. It’s not that she’s stand-offish. She just
isn’t sure that you want to be friends.
She has a rare kind of modesty for a girl
who is, after all, a star. I noticed imme-
diately the scarcity of the first person
singular in her conversation. And later
I realized that something more than mod-
esty was involved. One evening, when
my husband and I were at the Jameses’
for dinner, Betty managed in the course
of four hours to deprecate her dancing, her
acting, her looks, and of all things, her
gorgeous legs. “Skinny,” was her verdict.
My husband’s mouth really fell open at
this heresy.

“Becky,” I said (we had hit upon this
nickname and it had stuck), “don’t tell
me you have an inferiority complex!”

She puckered up her forehead at this
and thought for a moment. She admitted
that she thought that was it. She had
been plunged into this business so early,
she said. She had always, all her life, been
working just one step ahead of what she
had been able to assimilate and under-
stand. Sometimes she thought she didn’t
even like the business. Sometimes she
hated it! She laughed then, a little em-

barrassed by her own violence. I thought
I knew one thing that was eating her.
For too long a time her life had been all
work — work and nothing more. And she
knew there was more. I, for instance,
though nobody at the studio but Betty
knew, was going to have a baby.

“She should fall in love,” I told Chuck,
my husband, as we drove home, “if she
only had time.” She had time, as it turned
out, soon after. During the production
of “Springtime in the Rockies” Betty met
Harry James. I was home with my new
baby then but Betty and I hashed over
everything every night on the phone.
They were having lots of laughs on the
picture, she said. But this wasn’t star-
tling. There are always plenty of laughs
on a Grable set.

When Betty tore off to New York as
soon as the picture was finished however
(Harry was in New York), we all began to
wonder. And when she came back, not
talking but twinkling, we knew. At least
I knew.

“When?” was all I said. She laughed.
It would have to be quick, she indicated.
She and Harry were going broke on all
of those long distance phone calls. It was
quick. The minute “Coney Island” wound
up, Betty was off to join Harry and the
Marrying Judge in Las Vegas.

While Betty and Harry honeymooned,
everybody at the studio concentrated on
thinking up a big program of work for the
Glamour Puss as soon as she got back.

“Pin Up Girl” was next on the schedule
and Hermes Pan and I were working out
for it the toughest dance routine Betty
ever had. The big number was an Apache
dance which she was to do with Hermes
himself, in which he threw her around
like a rubber ball.

When we ran through it for Betty the
first time, I thought she looked a little
green, but she didn’t say anything until
later when the two of us were alone in
her dressing room.

“Can you keep a secret?” she asked me

OWNERSHIP. MANAGEMENT, CIRCULATION. ETC.. REQUIRED BY THE
°,f CONGRESS OF AUGUST 24, 1912, AND MARCH 3. 1933, of PHOTOPLAY, published Monthly
at Dunellen, N. J., for October 1, 1948.

State of New York f
County of New York f s&

Before me, a Notary Public in ana for the State and county aforesaid, personally appeared Meyer
DtirvTnnT a having been duly sworn according to law, deposes and says that he is the Secretary of
rHulOPLAi and that the following is, to the best of his knowledge and belief, a true statement of the
ownership, management (and if a daily paper, the circulation), etc., of the aforesaid publication for the date
shown in the above caption, required by the Act of August 24, 1912, as amended by the Act of March 3, 1933,
embodied in section 537, Postal Laws and Regulations, printed on the reverse of this form, to wit:

1. lhat the names and addresses of the publisher, editor, managing editor, and business manager are:
?^-btsher’ Mac/adden Publications, Inc., 205 East 42nd Street, New York 17, N. Y. ; Editor, Fred R. Sammis,
205 East 42nd Street, New York 17, N. Y ; Managing Editor. Adele Fletcher, 205 East 42nd Street. New York,
17, N. Y. ; Secretary, Meyer Dworkin, 205 East 42nd Street, New York 17. N. Y.

2 • . That the owner is: (If owned by a corporation, its name and address must be stated and also im-
mediately thereunder the names and addresses of stockholders owning or holding one per cent or more
of total amount of stock. If not owned by a corporation the names and addresses of the individual owners
must be given If owned by a firm, company, or other unincorporated concern, its name and address,
as well as those of each individual member must be given.) Macfadden Publications, Inc., 205 East 42nd
street, Mew York 17, N. Y. Stockholders owning or holding one per cent or more of total amount of stock
in Macfadden Publications, Inc. ; Orr J. Elder. 187 Old Short Hills Road. Short Hills, N. J. ; King & Co., c/o City
Bank Farmers 1 rust Co.. 22 William Street, New York 15, N. Y.; Henry Lieferant, 54 Riverside Drive, New
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3. 1 hat the known bondholders, mortgagees and other security holders owning or holding l per cent

?r ™?re ,°i-, mortgages, or other securities are (If there are none so state.): Orr

J. Elder^l87 Old Short Hills Road, Short Hills, N. J. ; Mrs. Mary Macfadden, 406 E. Linden Avenue, Engiewood,
g • J-j Charles MendeL 720 West End Avenue, New York 25, N. Y. ; Charles H. Shattuck, 221 N. La Salle
Street, Chicago, 111. ; O Neill & Co., P O. Box 28— Wall St. Station. New York. N. Y. ; City Bank Farmers
Irust Company, et al, 22 William Street, New York 15, N. Y., as Trustees for: Beulah Macfadden, Beverly
Macfadden, Braunda Macfadden, Byrnece Macfadden, Helen Macfadden, Berwyn Macfadden, Brewster
Macfadden, Mary Macfadden.

4. Ihat the two paragraphs next above, giving the names of the owners, stockholders, and security
holders, if any, contain not orrly the list of stockholders and security holders as they appear upon the
books of the company but also, in cases where the stockholder or security holder appears upon the books
of the company as trustee or in any other fiduciary relation the name of the person or corporation for
whom , such trustee is acting is given; also that the said two paragraphs contain statements embracing
affiant s full knowledge and belief as to the circumstances and conditions under which stockholders and
security holders who do not appear upon the books of the company as trustees, hold stock and securities
in a capacity other than that of a bona fide owner, and this affiant has no reason to believe that any other
person, association or corporation has any interest direct or indirect in the said stock, bonds, or
other securities than as so stated by him.

5. That the average number of copies of each issue of this publication sold or distributed through the
mails or otherwise, to paid subscribers during the twelve months preceding the date shown above is (This
information is required from daily publications only.)

Sworn to and subscribed before me this 24th day of September, 1948.
( SEAL)

(Signed) MEYER DWORKIN

TULLIO MUCELLI.

Notary Public, State of New Y'ork,
County of Residence, Bronx, Bronx Co.
No. 128, Reg. No. 90-M-O. Cert, filed in
N. Y. Co. No. 530, Reg. No. 317-M-O.
Commission expires March 30. 1950.

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men. 1 spent the next couple of days
thinking up believable reasons for taking
the punishment out of the Apache dance.
It wasn’t easy, since I couldn’t tell the
real reason — that Betty was expecting a
baby.

I was happy. Betty was happy. With
the advent of Harry James in her life and
then after little Vicki’s arrival and Jes-
sica’s, Betty began to bloom like a rose.
There was a new depth in her work, ap-
parently a new meaning, new object in
her life. Betty and I saw a lot more of
one another off the set now that we had
our babies. My Dennis was a year-and-
a-half older than Vicki and just old enough
to make him feel the big, strong man.
We bounced around from pony rings to
merry-go-rounds on our days off and on
weekends often wound up at Betty’s and
Harry’s ranch in Calabasas.

At the ranch, you can really relax.
Everybody wears blue jeans, Betty does
the cooking and good! Everybody forgets
about studio wrangles for awhile.

T their lovely English house in town —

which they plan to sell — Betty and
Harry are scarcely more formal. They have
a small formal living room but nobody ever
goes into it. The babies’ doll house was
stored in there the last I knew. Center of
their life is in the pine-paneled den, with
its huge stone fireplace and gay, braided
rug and often we stay right there for din-
ner. There is always a place for Vicki at the
dinner table. She is almost five now and
strictly the little lady. It is wonderful to
watch Betty with her. When the dessert is
all gone and coffee coming in, Betty winks
at Vicki. “Time to say goodnight,” she
smiles. Off Vicki goes, without protest,
to find Miss Parsons, her nurse, and go
happily to bed. She knows Mama and
Daddy are not brushing her off.

For a girl who is always complaining that
she never had time to learn anything, Betty
knows a lot about psychology. When Jes-
sica was on the way, Betty took great
trouble to explain to Vicki what was about
to happen. “It will be your little baby,
too,” she said, “and you can take care of
it, and love it. Mama and Daddy will
love it, too, just the way they love their
Vicki.”

But it isn’t all “fun with the kiddies”
at the Jameses’. Betty is smart about Harry,
as well as devoted to him. She knows
how important it is that they go on
having fun together. She is forever
dreaming up gags. I sat in on one the
other night that we’ll laugh about for
months. Harry and his orchestra were
doing an engagement at the Aragon, a
ballroom down at the beach. Betty de-
cided to turn up at the place, in disguise,
to see if she could fool him. We worked
on the plan all day at the studio, digging
up props. Marie Brasselle, Betty’s hair-
dresser, went home with Betty for dinner
and Kenny Williams, the dance director,
and I were to arrive at the house at 9
o’clock to drive her down to the beach.

At 8:45, Betty phoned me. “Don’t come
yet,” she said. “Harry hasn’t gone yet.”
When we arrived later, Betty was getting
ready. She had left her studio make-up on
at dinner, to convince Harry she wasn’t
planning to go out. That was coming off
now, and a new make-up going on. White,
white powder, dark purplish lipstick, black
eyebrows arched a la Dietrich. Marie had

brought along a slick, black wig. Then
a tight black skirt, a flame-colored blouse.
Shoes with very high heels and ankle
straps. Finally, the wedding ring came off,
to be replaced by my engagement ring. It
was astonishing. Betty came downstairs,
slowly. Kenny blinked. “You look,” he
said, “like the cashier at the Bijou Theatre.”

On the way out, we picked out a name
for our beauty. “La Von LaRue?” suggested
Betty, breaking up. We settled for Lynn
Kelley, the name of an Irish girl friend of
mine. It seemed to fit. All of us were certain
that nobody would guess that this black-
haired sexboat was Betty Grable. You can
fool your husband, if you’re Betty Grable,
as it turned out, but not your fans. Auto-
graph hunters were clamoring five minutes
after we got inside. A strange man came
up, put his arm around Betty and said, “Hi,
Betty, may I have the next dance?”

Betty gave us one of those “I thought
you said it was good” looks and fled with
Kenny and me into the darker cocktail
lounge. Betty’s sister and brother-in-law
were sitting at a corner table, shouted
“Hi”’ at us. Kenny thought fast, intro-
duced “Miss Kelley.” There were polite
how-de-dos all around. This was more
like it. Betty signaled that I should go
backstage and dig up Harry. I found him,
signing autographs.

“Hi Harry,” I said. “Why don’t you
come out front for a few minutes. Girl
friend of mine from New York wants to
meet you.”

He came back, after the next set, met
“Miss Kelley” with no sign of recognition.
He pulled up a chair, made polite noises.
What did Miss Kelley do, he wanted to
know. “I’m a dancer,” said Betty, playing
it straight. She was from Flatbush, she
said. As if Harry couldn’t tell. She waved
my ring under his nose. “What did you say
her name was,” Harry whispered to me.
“Lynn Kelley,” I whispered back.

“She’s rather attractive,” he said. At
this Betty whooped. The beautiful Grable
teeth flashed and the game was dead.

There are some evenings with Betty
that are not so merry. If Harry is away,
especially if he’s flying, she is frantic. If
one of the kids is sick, she’s upset and
unhappy all day long. I know her moods
by now and when she’s feeling low I just
don’t talk to her. “You know, don’t you,
Angie,” she said to me once, “that I can’t
be Laughing Girl all the time.” Sure I
know. That divided heart! I know that
sometimes when the slapstick is wildest
on the set, Betty would give anything to
be at home with her family, in her old
clothes, out of the spotlight for a bit. Her
terrific loyalty! When the axe began
swinging at the studio a few months ago
I thought my number was up. I was all
set for the pink slip but it never came.
Betty would never tell me and she
wouldn’t confess if I braced her with it
but I know that she went to the front
office and sewed my job up tight.

You always know where you stand with
Betty. She takes a good long time to
make up her mind but when it’s made up.
it’s made up for good. I’m lucky. I made
the “like” list.

“Of all the people around here, Angie,”
she said to me the other day, “you wear
the best ” I could have cried. From a
girl who doesn’t know how to gush, that’s
sweet music.

The End

LIFE ON THE CROSBY RANGE

Wally Westmore, Paramount make-up artist and an old friend, explodes a lew
** gags and reveals a different Bing in a smash February Photoplay story

Peggy Thorndike

Camille Gilbert

Jack Force Jr.

Oppee

Geoffrey Morris

Editor

Merchandising Editor

Art Director

Photographers

►

Lovely Dovothy Huvt, photographed
at The Sportsman’s Lodge, in Holly-
wood, is seen next in Universal-Inter-
national’s “The Countess of Monte
Cristo”

An exciting 100% wool jersey dress
with this season’s fashion hit — a
matching fringed stole. Designed by
Felix Safian in many bold contrasting
colors. Sizes 9-15. $19.95 at Wood-
ward & Lothrop, Washington, D. C.,
and The May Company, Cleveland, O.

For store nearest you write direct to
manufacturer listed on page 79.

PHOTOPLAY FASHIONS

Sophisticated

IloYld Massey is the beautiful blonde
who charms the Marx Brothers in the
Lester Cowan Production, “Love Hap-
py,” a United Artists Release

)

A moss crepe dress with beautiful skirt
detail, small round collar and bracelet
sleeves. An R & K Original in bright
or dark shades. Sizes 9 — 15 and 10 —
16. About $17.95 at Oppenheim Col-
lins, New York, N. Y., and Brooklyn,
N. Y., and The Hub, Baltimore, Md.

For store nearest you write direct to man-
ufacturer listed on page 79

A trim iridescent faille jacket and slim
crepe skirt -with flat back pleats will
bring you lots of compliments. And
you can wear it on and on, even dur-
ing summer. Design by Majestic in
sizes 10-18. Jacket $8.95. Skirt $5.95
at Forbes & Wallace, Springfield, Mass.,
and Robertson Brothers, South Bend,
Ind.

For store nearest you write direct to man-
ufacturer listed on page 79

// you feel the need for a wardrobe
pick-up this time of year, and who
doesn’t, here are a few suggestions:
For an unusual flash of color, line
your deep-toned coat with a bright
plaid or a novelty print. Line the
pockets, too. You’ll be as perked up
as if you had a whole new outfit.

Some of the beauties of Hollywood
pin a deep red velvet rose under the
turned-up collar of a suit or dress or
clip a rose low on the neckline of a
dressier jacket (similar to the one we
show on this page) for that extra
glamour touch.

Scatter-pins are wonderful pinned
on a scarf or suit lapel and for the
evening, pin them on a ribbon around
your neck. With a low neckline this
adds an elegant note.

Shell-foot stockings are the perfect
accessory to wear with the “oh-so-im-
portant” shell pumps. And have you
noticed how pretty feminine pumps
make all clothes seem much smarter?

PHOTOPLAY’S

PattM ovttC'

Doris Day’s r°be designed by Milo
Anderson for Warner Brothers’ “My
Dream Is Yours,” a Michael Curtiz
Production

Here is a robe cut along the classic
lines everyone loves. If you wish to be
elegant in it, choose a rich fabric.
For the budget-wise woman who wants
a lovely robe that will serve double
duty, it is perfect for lounging or bou-
doir wear. Cohama’s Metalaine — a light-
weight wool and rabbits hair, woven
with nontamishable aluminum yarn —
is a superb fabric for this pattern and
it comes in various flattering shades

For sketches and stores selling Photoplay Patterns
see page 79

PHOTOPLAY
205 East 42nd Street,
New York 17, New York

Enclosed find thirty-five cents ($.35) lor which
please send me the Photoplay Pattern of the Doris
Day — “My Dream Is Yours” robe in size (Circle
size you wish) 12 — 14 — 16 — 18 — 20

Size

My name and address is :

Name

Milo Anders

designer of Doris Day’s
robe in “My Dream Is Yours”

Milo Anderson, ace designer for the

DARLEEN elastic
foundation or
will give you the ultimate
control. DON'T TAKE
FOR GRANTED. There's
of difference in elastic.
Ask, "Is the elastic DARLEEN?"

*T. M. Reg. Darlington Fabrics Corp.
350 Fifth Avenue, New York

feminine stars at Warner Brothers
Studio, believes that his creed, “dress
to yourself,” is a rule that should hold
for any woman who wishes to present
herself at her best; to accentuate her
personality.

“American women have acquired a
new freedom in their wardrobe
choices,” says Milo. “No longer will
they take dictation on what is fashion-
able and correct for a particular time
or place. Instead they choose always
what is most becoming to their figure
and personality.”

The lounging robe Milo designed
for Doris Day in “My Dream Is Yours,”
our pattern this month, is an example
of the Anderson devotion to simple
lines and rich fabric. It further fol-
lows his credo in that it is suited to
Doris’s personality. She prefers modi-
fied tailored lines in her personal and
screen wardrobes — no frills and ruffles.

So if you, too, find simple lines
more becoming, this Milo Anderson
robe is the robe for you. Why not
make one for summer in cotton, either
plain or patterned — with white pique
collars and cuffs for easy tubbing.

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Smooth

Martha Vickers, slim and lovely, is
seen in “Daughter of Ramona,” a Mar-
tin Mooney Film Classics release

First print of the year is an exotic Per-
sian design by McKettrick complete
with rhinestone buttons to the waist
and tied with a cord belt. Sizes 12-20.
$14.95 at Stix, Baer & Fuller, St.
Louis, Mo., and Stern Brothers, New
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For store nearest you write direct to man-
ufacturer listed on page 79.

PHOTOPLAY FASHIONS

I'm Hollywood s Cinderella

Continued, from page 30) I have lived in
ollywood, New York City, that fashion-
jjle part of New York State called West-
lester and the “Bohemian” part of
onnecticut called Westport. Even before
was bom, Joan Crawford was destined to
2 my godmother and I was destined to be
amed after her. Joan had been my
other's closest friend for simply years,
ight from my cradle, I’ve been meeting
mous actors, playwrights, reporters and
agazine editors.

My parents, whom I’ve always called by
eir given names, are both writers. Kath-
■ine, after being a minor movie actress,
ecame a Los Angeles newspaper writer,
len a publicity girl at Metro-Goldwyn-
iayer (that’s where she first met Joan
rawford) then a writer on this very mag-
;ine, Photoplay. And since she has been
arried to my father, she has collaborated
ith him in writing plays.

Y father, Dale Eunson, besides, being a
short story writer and a magazine edi-
>r, was coauthor of the stage hits, “Guest
i the House” and “Loco.” So you can see
■hy I’ve never gone hungry — until this last
ugust 30th when Mr. Goldwyn signed me,
"hen I starved. Because Mr. Selwyn, Mr.
oldwyn’s executive talent director, told
ie: “Lose that baby fat!” And this was
pllowed by a similar order from Mr.
oldwyn, who said: “You must drop ten
lounds.” It was rough, awfully rough.

Of course, my neatest trick, I suppose,
:^as in picking such clever parents. If Dale
adn’t written “Guest in the House,” I
light never have had the chance to go on
tage in a perfectly slick child part at the
ge of nine, and so to decide I wanted to be
n actress and not a ballet dancer.

When “Guest in the House” was to be
layed at Cambridge, Massachusetts, Dale
[ecommended me for the little girl part,
i Outside the billboards said, “Guest in
he House” starring Richard Hart (yes,
i he very same Richard Hart who was
liana Turner’s leading man in “Green
)olphin Street”) and introducing Joan
lunson. As I stood in the wings, wait-
tig for my entrance cue, I was very, very
tervous. I didn’t know what I’d do when
j got out there in front of a real audience,
jlut then, suddenly, I did hear the right
vcrds. I walked on and I began speaking
ind moving and as I heard myself talking,
thought: “If I feel as nervous as this
:very night, it just won’t do.” Right after
jhat, I became perfectly calm and I always
tave been ever since. In fact it all went so
veil I began to hope that someday, after a
ot of work, I would be a little important,
naybe. But in my wildest dreams I never
conceived that only four years later I would
)e co-starring with Farley Granger.

It was odd — the way it all happened.
When Mr. Goldwyn and Cathy O’Donnell
Parted company, Mr. Selwyn, Goldwyn’s
ialent expert, was sent all over the country
>n a scouting expedition. When he phoned
Catherine Willard, Ralph Bellamy’s ex-
vife and a family friend, asking if 'she’d
;een any promising girls, she told him to
ook me up.

The next morning, he called and asked
ne to come to the Goldwyn office and get
i script. Katherine told me not to get
;oo excited. I read for Mr. Selwyn and two
lays later, I made a test.

Two whole dreadful weeks elapsed after
|hat. It couldn’t have been more grim. No
telephone call. Then finally a wire came
or Dale from Mr. Selwyn. While
Dale took the telegram over the phone,
Katherine and I were dying. As I said later,
jpe might at least have talked like you do on
i stage telephone. You know, said stuff like,
‘Well, do you want me to tell my daughter

that she has the part?” Instead, he just
stood there saying, “Uh-huh . . . yes . . .
uh-huh . . . yes.” Then he hung up and
said, “What do you want to know?” which
simply infuriated Katherine and me.

What the wire had said was, could I
leave the next day for the Coast. I could
have left in five minutes.

Katherine and I arrived in Los Angeles
the next Monday and by three, Mr. Gold-
wyn saw us. I was told to report for an-
other photographic test the next morning.
That’s when I met Irving Reis, the director,
who is terrific, and Farley Granger, who is
a dream walking. We went over the script,
rehearsing love scenes, which we shot as
a test on Saturday. During the test I was
calmer than I had been any day since
we arrived. I played my scenes with
Farley as though he were a long-lost uncle.
I was wearing Merle Oberon’s dress from
“Wuthering Heights.” My hair was light-
ened and the sound stage was so cold
that even though I wore a woolen bathing
suit under the nightdress that the scene
called for, I shivered and shook violently.
They brought me coffee to warm me up. I
don’t like coffee, but I gulped it down so
fast I burned my tongue.

HOW I lived over that weekend I don’t
know. The suspense was perfectly
dreadful. But finally it got" to be Monday
once more and I was told to come to the
studio.

On the way over, I gave myself a real
talking to. I told myself that (A) I’d get
the part of Roseanna. (B) Mr. Goldwyn
would say he liked me but that I was too
young and that I was to come back in three
years. (C) He wouldn’t like me at all and I
would be sent back to New York and all
Katherine and I would have had out of the
trip would have been our chance to see our
old California friends. But the moment we
walked into Mr. Goldwyn’s office, I knew.
Because he gave me a great big grin and I
didn’t even have to wait to hear him say,
“You are Roseanna.”

Then it began! Giving biographies, going
to court to have my contract approved,
changing my name. There were interview-
ers and photographers everywhere. Joan
Crawford gave a party to introduce me to
the press. She brought along a perfectly
gorgeous wrist watch as a gift for me to
remember her and the day by — not that I
shall ever need that heavenly reminder.

Everybody and everything has been so
wonderful. Even before we started shoot-
ing I was putting in a seven-hour day,
which included just about everything but
the good square meals I craved. I had to
keep up with my school work. I. had to
take a daily riding lesson, because even
though I rode horseback some, when I was
younger, I am not expert.

There’s only one thing I regret. It doesn’t
seem quite right that now I am called Joan
Evans, even if Evans is my grandmother’s
name. I take pride in my family name of
Eunson. But I do know that Eunson,
which is pronounced as if the “E” weren’t
there, is a name that looks difficult.

I write Katherine and Dale every night.
They have gone back to New York — be-
cause that is where their careers require
them to be — leaving me out here in charge
of a friend. But I will join them as soon
as the picture is finished. By being in New
York between pictures they hope to keep
me from “going Hollywood.”

But whenever I’m home, I know I’ll be
waiting for the phone call that will bring
me back to the suspense of tests, chilly
sets, diets, new work, new friends and the
magic that is Hollywood. For, just like
Cinderella, I’ve left my heart at the ball.
The End

Wfc erever
You Live
You Can Buy

ML Aotcfi/ay

W? ad/ucnb i

If the preceding pages do not list
stores in your vicinity where Photoplay
Fashions are sold, write to the manu-
facturers listed helow:

Jersey Dress with Stole

F. H. Safian (3 Co.
1375 Broadway
New York, N. Y.

Crepe Dress with Tiered Skirt

R. (3 K. Originals
1400 Broadway
New York, N. Y.

Jacket and Skirt

Majestic

1410 Broadway

New York, N. Y.

Persian Print Dress

McKettrick-Williams, Inc.

13 50 Broadway
New York, N. Y.

Stores Selling Photoplay Patterns

Gimbels

New York, N. Y.

Lit Brothers
Philadelphia, Pa.

The Hecht Company
Washington, D. C.

Pattern Sketches

Back

Play Truth or Consequences with Ronald Reagan

( Continued jrom page 52) citizen?

A: Both. I believe one can be the most
versatile citizen as an actor. The acting
profession gives a citizen the best oppor-
tunity to give voice to something he ob-
jects fo or believes in.

7. Q: What’s the toughest speech you
ever had to make?

A: It wasn’t exactly a speech but it was
my most nerve-racking moment. When
I appeared before the Investigating Com-
mittee in Washington. I have only dis-
gust and disapproval for Communists —
but, on the other hand, I could not ap-
prove of the way the Committee handled
the Hollywood investigation. I had seen
our industry libeled from one end of
the country to the other at times — and I
wanted to defend it if I could and paint
a more accurate picture of people in Holly-
wood. Yet, I didn’t want to appear at
any time to be in support of any indi-
vidual who might be red in color.

8. Q : Do you think there are many
Communists in Hollywood?

A: I don’t think there are any more than
in other key or important spots in the field
of politics.

9. Q: Do you think Hollywood strikes
are Communist-inspired?

A: No, but I think that after the strikes
started, Communists profited actively by
them, because they fit in with their own
plans of stirring up chaos and disruption.
Their interest has been in keeping a strike
going and not in either side winning it.

10. Q: Do you think you have given
too much time to outside activities?

A: I think I’ve overdone it a little — that
trying to save the world single-handed.
I’ve slowed down a bit now.

11. Q: Have such activities ever jeop-
ardized your personal happiness?

A: Guess I’m due for a consequence.

Edwards: Here’s a hot one. You have
to make a fiery speech — in other words,
I’ll ignite the script and you prove your
ability as a fast-talker by finishing the
page before the flame does.

12. Q: Do you think you are too seri-
ous-minded ?

A: No, hang it, I don’t. Just because
for years you’ve been roped into doing
things that have to be done, doesn’t mean
you always enjoy them. Lots of the time
I’d like to be out having a good time.

13. Q: Let us in on a personal frustra-
tion— something you’ve wanted to achieve.

A: I’ve always wanted to be able to sing
and dance. To out-croon Crosby and out-
Astaire Astaire.

14. Q: What do you personally con-
sider has been your biggest failure?

A: What do I have to do if I fail to
answer?

Edwards: Well, you said you always
yearned to sing and dance. Let’s see you
do an impersonation of Fred Astaire danc-
ing and Crosby singing.

15. Q: Are you over-sentimental?

A: I’m a regular ham at heart. I can
even get worked up about Bugs Bunny.

16. Q: What’s the toughest decision
you’ve ever had to make?

A: Choosing men to send overseas in
the Army.

17. Q: What’s the biggest thrill you
can remember?

A: It was at the same time — my biggest
thrill and my biggest disappointment.
When I received an invitation to the White
House during President Roosevelt’s oc-
cupancy and was not able to accept it.
But for a very good reason — Jane was
having a baby at the moment.

18. Q: Ronnie, I know about that
dream of yours that’s taking shape — the
school of speech at Eureka College. Have
your plans changed regarding it?

A: Nothing in my personal life has al-
tered the plans for the handling of the
Wyman-Reagan School of Speech.

19. Q: Name a few screen stars who
might profit by enrolling in it.

A: I’d rather take the consequence.

Edwards: Okay. You’re considered an
expert horseman. Let’s see you demon-
strate your ability by taking this saw-
horse over the jumps. I’ll apply the whip!

20. Q: Do you think some columnists
in Hollywood concern themselves too
much with the private lives of actors?

A: Yes. I realize we are all in the
public eye and as such must expect less
privacy than other people. But there is
a line of good taste beyond which they
should not go, in their speculation on
family and personal matters and there is
no justification for it. I don’t believe the
mass of American citizens are busybodies
who want to pry into things which they
consider private in their own homes.

21. Q: Do you think Hollywood mar-
riages have more strikes against them
than others?

A: Yes. Marriage in Hollywood is defi-
nitely a tougher row to hoe. The daily
work of people in our business is dealing
with artificial emotion. You can’t play a
scene, say, of great bitterness all day and
walk out the gate that night and not take
some of it with you.

22. Q: What do you want for your
children, career-wise?

A: I think they should make any im-
portant decisions for themselves, just as I
did. I hope for their sake that they’re
attracted to show business, for I think it’s
the happiest profession in the world and
that it offers the biggest rewards.

23. Q: Do your children ask ques-
tions you can’t answer?

A: If I didn’t admit that, I’d be the
most unusual parent in the world. I think
kids are born smarter than their parents.

24. Q: Ronnie, what would you have
liked to be, if not a motion-picture star?

A: A rich man, so I wouldn’t have to
work. I have a great talent for yearning
for a lot of things money can buy— ex-
pensive hobbies like horses and boats.

25. Q : What motion - picture star

would you not enjoy working with?

A: Walter Huston. I’m no fool. I’d like
not do a picture with him because wh<
he gets through acting, I’m going to lo<
like an amateur. From him I’ll take le;
sons — but not in front of a camera.

26. Q: What is your favorite pe
formance?

A: I think the greatest performan<
I have ever seen is Jane Wyman’s :
“Johnny Belinda.”

27. Q: Give us a phobia.

A: Riding in an airplane. To my nc
tion, they’re not practical. In other word
they’ll never get them off the ground.

28. Q: Are you too practical?

A: No. I go off half-cocked on a lot <
wild ideas. Sometimes I get them whe
I’m alone. I’ll get all steamed up aboi
something. But when I get to talkir
about it, I begin to run down, to realis
it doesn’t jell.

29. Q: Do you find others resent you
accomplishments ?

A: The farther up the ladder anyov
goes, the lonelier it gets, don’t you think

30. Q: What’s your most personal]
objectionable trait?

A: The one I hate most is my timidit;
This is a prime one. I’m a timid sou
A Caspar Milquetoast in caution. If
waiter is rude to me, I double his tip.

I have only thirty minutes to eat betwee
a radio rehearsal and a broadcast an
some fans outside want autographs, in
stead of telling them my problem, I g
without dinner and sign. When I get be
hind the wheel of a car, I hate anybod
else driving. They’re my arch enemies,
feel they’ve no right to be on the roar
they can’t drive a car and driving along,
tell them so. I yell at them like mad. Bu
when we pull up at a stop light and th
fellow glances over at me, I just smil<
When I do that, I could kill myself.

31. Q: What’s your best selling point

A: My ability to talk fast enough to slo\

up the other person’s thinking. A fast
talker doesn’t give him a chance to thin
about things.

Edwards: You ought to be in the Stat
Department!

The End

And write a letter describing your favorite star — in
twenty-five words or less. If your entry makes the
ten-best grade you will receive an autographed pic-
ture of your favorite. Entries should be mailed to:

CONTEST EDITOR, PHOTOPLAY, 205 E. 42 ST., N. Y., 17, N. Y.

Last month's winners were: Eddie Bradye, Pittston, Pa.; Floyd Coveri\ Lodi, N. Y.; Betty
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Providence, R. I.

'49 Fashion Steps

( Continued, from page 56) kind of clothes
except the most tailored.

Joan Fontaine has a voluminous cape of
violet and black “iridescent” worsted that
is but dashing for town or travel wear.
And perfect it was while awaiting the ar-
rival of her first baby. Joan’s cape is full-
length, lined with a matching block plaid
taffeta. It also has a wide, high-riding col-
lar for protection against chilling breezes.

Ever since Anne Baxter trimmed herself
down to her current slimness, she’s taken
a mad interest in clothes. A designer who
whipped up a lot of things for her is Boyh,
of San Francisco. One of them is a pencil-
slim lacquer-red slipper satin evening
gown, the skirt of which has deep slits
at the sides. The bodice is straight around,
with wide straps over the shoulders.. The
dress has a short jacket, lined in yellow
crepe with a bit of Chinese influence in
the tiny, upstanding collar and its braid
fastening. Stella of Magnin’s, who special-
izes in designs for small women, has come
through with a really practical and flatter-
ing skirt detail that is such a boon to all
wearers of suits, you wonder why no one
ever thought of it before. For a gray-green
suit for Anne, she cut the front of the
skirt on the bias, so that when Anne sits
down it doesn’t pull up over her knees or
cling in unflattering folds. The back of
the skirt, however, is cut on the straight.

STOLES, stoles and more stoles — are still
the rage. Barbara Bel Geddes is draping
a chamois-colored fringed wool stole,
twenty-four inches wide and yards long,
around her shoulders when she wears her
pet circular skirt of dark brown gabar-
dine, topped sometimes by white, some-
times yellow, sometimes matching brown
blouses. Of course, the stole looks dreamy
over dresses of dark jewel tones too — such
as emerald green or sapphire blue.

In fact, “separates” are the key to spicing
up a wardrobe. A new “twist” here or
there; a complete change of accessories —
or an added belt or button and presto! that
old dress becomes a shining new thing.
For instance: Barbara also “teams” a black
satin sleeveless jacket with a new short-
length evening skirt of black velveteen or
crepe, plus little handmade tucked white
silk long-sleeved blouses. This suggests
any number of combinations to mate new
and old clothes.

How about that suit or dress of silk or
wool that is trimmed with velvet or fur
collars and cuffs — and perhaps boasting
heavy leather belts? Take off the wintery
trimmings and substitute silk or lingerie

trimmings; substitute metal or novelty
belts; throw away the upper or lower
halves of those two-piece woolens and add
a pastel-shade bolero or jacket — or a skirt
of printed silk or even cotton, combined
with the heavier half you’re salvaging. And
it’s a whole new deal for spring.

The night that hundreds jammed into
Cobina Wright’s party, where some of the
top glamour-pusses were modelling fash-
tions, was really something. Among the
“models” was Dinah Shore, wearing a
whole raft of gorgeous evening clothes,
most of which she took to London with her
and wore for her stage stint there. And
she really wowed ’em. One of the prettiest
gowns was worn by Ann Miller. It
was of mimosa-yellow silk taffeta and
the tricky use of pockets in the huge skirt
was a new detail. Ann wore black lace
gloves, jet earrings and necklace with the
striking gown. Later, everyone wandered
out into the garden for a midnight feast
of fancy hot dogs, barbecued hamburgers,
and other informal goodies. Ran into Judy
Garland and Vince Minnelli and Judy was
sporting a lovely new necklace of jade,
thousands of years old, that her spouse had
just given her. One night at our own shack,
Judy was wearing a gorgeous, filagreed,
gold choker necklace with a scalloped edge,
each outside scallop solidly edged with
rather large round diamonds — the whole
thing beautifully designed and made. “My
only jewels!” exclaimed Judy, when we
screamed in admiration over it. And you
know — in a way, she’s right. She has all
kinds of semi-precious “jewel ensembles”
of coral, jade, etc. — and we’ve long noted
she seems to prefer this kind of adornment.

These are the days for “the little woman”
— the very little look is the new look — and
lines are getting sleeker to accentuate it.
Suit coats are getting longer, but if you’re
long-waisted and short-legged, just skip
the information! Mona Freeman is one lit-
tle gal who is not only daintily but so well
proportioned that she can wear them. She
has a smooth, deep gray dressmaker suit
that is really “the latest,” with its longer
jacket that features double flap-pockets at
the hipline, accentuating her tiny waist. It
fits snugly over a straight, slim skirt. The
jacket buttons from its double pointed
collar to the waistline. With it Mona wears
a double-brimmed sailor of a slightly
paler gray felt, with a flame of gray
feathers jutting off one side. Purse and
gloves are gray, and so are the shoes.
These monotone ensembles sure emphasize
“the little look” — and very nice, too!

The End

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Bendix

and the Babe

Bill waited twenty years to
have the Babe sign the ball
he caught at Yankee Stadium

TO become Babe Ruth for even a few
days, be called that name, assume that
character, Bill Bendix counts as the great-
est thrill of his movie career. Yet it was
fitting enough that Bill should play the
Bambino. Both rose from obscurity — Bill
from a poor family in New York and
Babe from an orphanage — to a success be-
yond their dreams. Babe became the one
thing Bill had hoped to be — a great ball
player. As a kid, Bill used to hang around
the New York Giants so persistently that
they finally made him a bat boy. It was
only when his father refused to let him
follow the team into spring training that
he gave up the idea of becoming a player.
But he never lost his enthusiasm for the
game and many a summer afternoon used
to find him in the bleachers at Yankee
Stadium, rooting and cheering himself
hoarse for the mighty Ruth.

So, when years later, he was approached
to play the Bambino after scores of other
actors had been turned down, he ac-
cepted with joy and humility, especially
when he knew that the Babe, himself,
approved of him for the part.

Babe left his hospital bed in the East
to journey to Hollywood to act as tech-
nical advisor for “The Babe Ruth Story,”
and to assist author John Considine with
the script. Thinned by his illness and
consumed by the pain of the throat cancer
that claimed his life, Babe arrived in town
smiling. If Hollywood expected a beaten
man, they were mistaken.

Every morning he greeted those on the
set with “Hello, kid!” He never knew
anyone’s name. He never bothered to
learn. “Kid” seemed good enough to Babe.

“My name’s Bendix,” Bill said to him
once. “Eh, oh yeah,” Babe said. And the
next morning it was “Hello, kid,” again
with maybe a slap on Bill’s back which

would uproot his back teeth. A shadow
of himself, he tried to maintain the
strength of two men. But out of sight,
on the set, Bill would find him gripping
a support in his unbearable agony.

They traveled, Bill and Babe, from
casual acquaintanceship (they had met
before in New York) to close friends dur-
ing those three weeks that Ruth sat on
the sidelines and watched Bill and Claire
Trevor play Mr. and Mrs. Ruth.. “He never
raised one objection,” Bill said. “He
seemed pleased with everything we were
doing.”

They’d lunch together daily at the studio
commissary. Babe would sit and enjoy
Bill’s stories, smoking one cigar after an-
other and downing his mugs of beer. Be-
cause it gave him pleasure, and because
there was no chance of recovery, he was
permitted twenty-seven cigars daily and
all the beer he could drink.

The studio, realizing that they were
racing against time, rushed the film to
completion and to an immediate world
premiere at New York’s Astor Theatre.
His doctor permitted Babe to attend. They
knew it would be a better medicine than
anything they could offer. The roar of the
crowd drowned out the noises of Broad-
way as Babe made his entrance.

He couldn’t remain for ■ the entire film,
but he liked what he saw of it.

Perhaps it was better that he didn’t stay
for the scene in which Claire Trevor
asked, “How long will my husband live,
doctor?”

“No longer than six weeks,” was the
doctor’s starkly prophetic reply.

And on August 17, three weeks from the
night the film opened, Babe Ruth, mourned
by millions, lay in the rotunda of Yankee
Stadium in his final rest.

The End

Diamonds and Diapers

( Continued from page 22) upon her.
Frankly, I was delighted to slip into the
nursery mood. An interview via telephone
was the best I could hope for with this
unpredictable girl, because Lana intends
to remain in the East until after the birth
of the baby. “What are your plans for the
baby?” I asked.

“Well, I want him born in the East,
probably here in Greenwich, because this
is Bob’s home. Really, Louella,” she said
with that impulsiveness that is so much a
part of her, “I have never been so con-
tented and at peace in my life.

“You know — when I was expecting
Cheryl I was unhappy. Things were not
going well between Steve and me. But
now I know that completely wonderful
feeling of a woman who awaits a beloved
baby with peace of mind and heart.

“Cheryl is getting to be such a big girl
now, I had almost forgotten how much fun
it is to be buying baby clothes, shopping
for a nursery and doing all those things
every mother enjoys planning for her
baby. My days seem so lazy. And yet I
am not at all restless. You know how ac-
tive I’ve always been, wanting to do some-
thing every moment?

“You wouldn’t know me now,” she went
on. “It’s a big day when I go into the vil-
lage and order diapers or talk with the
man who is enlarging one of the rooms
for the nursery. The main thing is, I don’t
want to be tired before or after he is born.
I’m not only resting under orders — I’m
loving it!”

“How about your maternity wardrobe —
is it as elaborate as your trousseau?” I
asked, remembering all the publicized
stories about Lana’s trousseau.

“Oh, that!” she replied with a chuckle.
“If you want to know the truth, I’m easing
the seams of the skirts from that very
trousseau and wearing blouses and sweat-
ers with them. I could never be a model
for the best dressed expectant mother!”

I1 OW that’s something! And with Bob
if coming into a cool — or hot — $4,000,000
from his mother’s estate very soon. How-
ever, I did not mention this little detail
for Lana, these days, is more interested in
diapers than diamonds.

Pardon me for mentioning it — but I had
been the first person in Hollywood in
whom Lana had confided the news that
she was expecting a baby and I knew the
story hours ahead of her studio. Lana al-
ways gets into the mood of a character
either on or off the screen and there had
been a definite catch in her voice when
she first told me, “Yes, I am going to have
a — (catch) baby.”

But the complications that news let
loose were thoroughly in keeping with
Lana’s talent for tossing bombshells.
Thousands had been spent in preparation
for “Madame Bovary.” The production
was ready to roll with the advent of
the glamorous star from her more or less
stormy tour of Europe. Now, everything
was in upheaval because the foremen-
tioned stormy petrel was dulcetly an-
nouncing from across the continent that
motherhood was in the offing.

But what’s to do? What are the plans
of movies and corporations in the face of
Nature taking its course? There was
nothing to do but to wish the prospective
mother the best of health and happiness.
There were whispers asking, why hadn’t
Lana told her bosses sooner?

Lana must have read my mind, for she
suddenly said, “The only thing I am sorry
about is that I was not able to let the
studio know about the baby and had to
give them silch short notice before
‘Madame Bovary’ was to start. But I

would like everyone concerned with the
picture to know that the studio was noti-
fied just as soon as I was sure myself.”

I have now written five chapters in the
Life and Times of Lana Turner for this
very Photoplay magazine, starting with
Lana’s own excited recitation of her elope-
ment with Artie Shaw soon after her tur-
bulent romance with Greg Bautzer ended.

I also duly reported the ending of that
idyll, with Lana tearfully recounting how
Artie had called her “dumb.”

I suppose Chapter 2 should be headed
“Steve Crane” since he was good for two
stories — the marriage, the separation, and
the remarriage, when Lana learned she
was expecting a baby. The reconciliation
with Crane was a beautiful romance. Then
their eventual breakup, although they
remained friends, was another story.

After this came Lana’s most adult ro-
mance— her love story with Tyrone Power.
She was really in love! I saw her a lot
during the early blooming of that romance.
Nothing in the world mattered to her but
Tyrone. She told me she was changing
the whole pattern of her life to match his.
They gave a party together before he went
to Europe. Their clinch at the plane was
in every newspaper. Lana assured me
this love was sacred to her. “I am not
even going to dine in a cafe while Ty is
gone,” she said, dramatically.

But Lana is Lana. She made the mis-
take of going to Ciro’s with Steve Crane on
a night she was supposed to be at a dinner
party attended by many of Ty’s closest
friends. This, and a visit to New York,
where she did nothing that I could see
was particularly wrong except to have a
good time, were duly reported to Ty.

Tyrone came home to tell her it was
“all over.” Meantime, he had met Linda
Christian who lost no time in soothing his
pride and assuring him of her great ad-
miration.

“And that’s that!” Lana told me, bitter-
ly, “I'm going back to New York to have
some fun.” That was her way of covering
that great big ache in her heart and she
knew I knew it. It was this trip to New
York which developed into her front page
romance with millionaire Bob Topping,
their cross-country love story — the flash-
ily reported $25,000 trousseau and their
wedding, sarcastically reported in most
instances. Again I did a story about Lana
and an interview with the groom.

As I read back over these many stories
about Lana in many moods — excitement,
happiness, heartache, sorrow, ecstasy, bit-
terness, I have been impressed by one
thing: She is always completely sincere
at the moment. She is as authentic in her
private life dramas as she is in the roles
she plays on the screen and even her
critics cannot say she is not a good actress.
Perhaps in dramatizing her private life
moods, she sometimes twists things around
to fit the particular “character” she is
living at the moment — like an actress
speaking appropriate dialogue.

I believe that may be why the English
and the French reporters found fault with
her — at the time she was on her European
honeymoon. I’m sure she was playing to
the hilt the role of the sensational, sophis-
ticated, rich Mrs. Bob Topping, the beau-
tiful movie queen on a wedding trip.

At heart, Lana is not that way. That is
why it is too bad she had to make a wrong
impression. She is much more like the girl
I talked with on the phone, warm, friendly,
cooperative. Perhaps she is embroidering
the sentiment of being a Lady in Waiting,
but she has proved she is a good mother
and undoubtedly she is awaiting the new
baby with real love and devotion.

The End

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( Continued from page 54) for a more re-
laxed life, adapt some part of this Western
decor to your own existence.

One good example to follow is Burl Ives’s
“Ballad Farm,” as illustrated. His house
has a most colorful interior. But their
guests see it only in winter or during a
heavy rain.

All their real living is done on their
outdoor terrace. The terrace has a sturdy
foundation of red tile. Tile may be too
expensive for your pocketbook, but col-
ored cement can be used just as effectively,
and at half the cost. Either is completely
permanent, waterproof and a cinch to keep
clean.

TWO outdoor fireplaces have been built
and both of them are adaptable either
to cooking or to mere heating. These are
expensive unless you build them yourself,
and many do — costing anywhere up to
a $1000, depending on where you live
and the height and width of the fire-
place-barbecues you desire. But they
make a lot of sense, especially where the
climate also has a Western influence, mean-
ing that it automatically gets chilly at sun-
set. And, again, like the tile or cement
flooring, they are permanent — and if there
is anything better than a charcoal-broiled
steak and baked potatoes, prepared out in
the fresh, sharp air before your eager eyes
and twitching nose, it’s yet to be dis-
covered.

Mr. Ives has staged his patio in the shade
of the old avocado trees. Handy, this.
Western, too. For avocados give wonderful
daytime shade as well as terrific eating
fruit. You can even have your avocados
and sell them, too, the trees bear so heavily.
Actually, the Iveses raise almost all their
own food. If you are out of an avocado
zone, plan a terrace in the shade of other
fruit trees.

Without reservation, however, if you
want a Western accent to your outdoor
living, copy the Iveses’ use of redwood
tables and tubular steel furniture — unless
you prefer iron furniture of various types.
Redwood tables and chairs with waterproof
cushions are the best outdoor furniture
from every angle. Rain doesn’t harm it.
You can start with it in its original color
and, with a little oiling and any sort of de-
cent care, it will last your lifetime. Or, if
you prefer, you can paint it. And — impor-
tant consideration — it is quite low cost. Of
course, along these lines, the most sensible
investment you can make is to buy some
sort of tarpaulin to toss over your chairs
and tables at night, as protection against
storms, fogs — and birds, too.

However, you may not have as much
wide-open space as Burl has. You may not
like such a typically “farm” atmosphere.
Well, as a Western touch on even a tiny
scrap of back yard, you can follow Cathy
O’Donnell’s simple plan. Cathy and her
husband, Robert Wyler, live high on
a hilltop overlooking the Sunset Strip.
Their house perches on a ledge with a yard
not more than six-by-ten feet, their only
outdoor space. But that doesn’t stop them.
They opened up the back of their indoor
fireplace, to make it work outside, too. They
have nests of glass-topped tables on which
to serve refreshments. Glass-topped
tables, obviously, are timesavers. The
only major attention they require is fairly
regular applications of paint to keep them
weather-proofed. Completed by what
Hollywood calls “director’s chairs” and a
redwood chaise or two, Cathy has loung-
ing space, without which no true Western
home can exist.

Now, where Loretta Young has gardens
around her estate as formal as those of
Versailles, and Claudette Colbert’s house

is surrounded by sweeping lawns, seldom
trod upon, the film colony usually adapts
every bit of its entertaining to outdoor
simplicity. Great picture windows, some-
times covering the whole side of a wall,
and often forming sliding panels so that
they can be used as doors, too, are practi-
cally standard equipment in a Western
decorative scheme. Nothing — not even
mirrors — makes a small room look as big
and lazy as the use of such window-doors.
Their initial cost is high, but except for
accidents, that’s the end of it and in the
West, at least, they are not very difficult
to keep clean. So, if you are building, con-
sider using them and, for remodeling,
nothing so “modernizes” a house.

Oddly enough, while the effect of these
windows is modern, they go beautifully
with old-fashioned materials, like calico,
used as hangings,, particularly when the
fabric is quilted. The beautiful Joanne
Dru, who is, of course, Mrs. Dick Haymes,
used quilted calico, under a formal valance
box of calico, around a window setting like
this. She was her own decorator, and in
her case, she was using a bank of windows,
not one picture window, but windows that
extend across the whole wall, going up
almost to the ceiling, though not down to
the floor. It was Joanne’s inspiration to use
louver shutters across the windows, a most
practical idea, as the light can be adjusted
exactly as you desire it at any time and,
also, there is no upkeep cost on louvers
after their initial price is paid. Below the
windows, Joanne has a ten-foot-long couch
covered in the same calico. The effect is
delightful And don’t forget how cheap
calico is.

Incidentally, the Haymes ranch — and it
is that, indeed, with its horse corrals,
chickens and dogs — is obviously designed
around the happiness of the three Haymes
babies. They have their own white-washed
house, about twenty yards away from the
main house, so their sleep won’t be dis-
turbed at night when Mother and Daddy
are entertaining (Daddy has quite a ten-
dency to give out with song on such
occasions) but speakers from their house
are wired into every room of the main
house, so that the slightest sound from
them is registered.

THE floors in the main Haymes house are
hardwood, in very wide boards, which
gives a definite “ranch” atmosphere, with
braided rugs here and there. “The kids can
spill milk to their hearts’ content,” Dick
says, “and nothing is harmed.”

The Western accent in decor means the
elimination of bric-a-brac in the usual
meaning. Great masses of silver are not
about, either, any more than bits and pieces
of china, that demand cleaning and dust-
ing. Plants, however, are used dramati-
cally, like the huge split-leaf Philodendron
in soapstone pots, or small, quickly grow-
ing fig trees. Here, again, you have a type
of investment. The figs don’t bear, but if
kept in half shade— as the Philodendron
should be, also — they grow lushly, their
dark, shiny leaves very beautiful and cool
looking in any setting. They may cost you
anywhere from ten to fifty dollars, initially,
depending upon their size — but they will
double in height within a year, with good
care, and they need not a twentieth of the
attention bric-a-brac or silver requires.
Twice a week watering and once a month
plant feeding will suffice — and they are
distinctly the “newest” thing in interior
touches — as you can see in any movie
scene indicating a smart home or apart-
ment.

The West also seems to be pioneering
outdoor lighting of gardens or yards that
make the most romantic nighttime vistas.

You can do it with any amount of space,
with anything from one light to a hundred.
Such lights cost about seventy-five dollars
each. They are. admittedly, a luxury, but
they give great drama — and again, they
demand no upkeep. Consult both a good
electrician and also, if possible, a good
landscape architect before installing them,
unless you have a genius eye of your
own.

Much of the East seems to labor under
the delusion that Western decoration
means an exclusive use of boots and
saddles, of “brands” on the cretonne and
silver ashtrays shaped like cow-puncher’s
hats. Well, sometimes, in very casual set-
tings, such motifs are still used — but they
are definitely dated, and going out.

The Bill Boyds, on their ranch, do have
some windows curtained in the softest,
natural suede, under valance boxes covered
with the suede and leather fringe and In-
dian silver rings used as the final orna-
mentation. This is good with Navajo rugs
and good, solid ranch furniture. Some-
times, also, a most effective use is made
of cowhide pillows, spotted here and there

upon a couch but the general tendency is
to follow the principle the Dan Duryeas
have in their rambling home which over-
looks the San Fernando Valley.

The Duryea living room, a fairly formal
one, with green walls, mulberry hangings
and chairs in mulberry and yellow, opens
out on a barbecue terrace. Here, as at the
Iveses’, you find an open fire for heating
or the preparation of food. Here, also, is
casual outdoor furniture, suited to loung-
ing and the intense activity of two small
boys. If you analyze this, it means that
there is more than one aspect to such a
house. It means the life that goes on in it
can have variety without effort. Formal
entertainment is quite as easy as “ham-
burger dates.” The adults have room to
live, as well as the children. No one needs
to be inhibited, and everyone can enjoy life
according to his mood of the moment.

Now that’s living, partner. So why don’t
you get a bit of it yourself — rather than
some elaborate clock or dust-catching
“objet d’art” which won’t give you any
fun at all?

The End

Why I'm Not Afraid to Marry Wanda

( Continued from page 24) Anyhow, I’m
pretty positive now that it is the only
marriage for me.

Of course, if I didn’t really believe Wanda
wanted it to be her only marriage, too, I
wouldn’t be getting into it at all. Because
we’ve had to get over enough Hollywood
handicaps as it is. It’s the way we’ve
managed to do this, incidentally, that gives
me confidence in our future.

As I am writing this, my girl is in
Rome, shooting on “Prince of Foxes.” She’s
been there since last April. I’m in Holly-
wood, where I’ve just completed Allied
Artists’ “Bad Boy.” Six thousand miles
separating us. A fine romance, I think not!

I can’t count how many times in the past
eight months I’ve wanted to go kick down
the Twentieth Century-Fox Studios for
keeping Skipper in Rome all this time.
Skipper, as I guess you’ve heard, is my
pet name for Wanda, though sometimes I
call her Charlie. That is, when I don’t call
her Slug. She calls me Soldier, but I’m
trying to cure her of that. The mere sound
of that word makes me afraid she’s going
to break out some “C” rations and my
stomach still says “no, thanks” for that
memory.

The crazy impulses I’ve had in these last
eight months! Like the dozens of times
when I’ve figured over and over how I
could sneak into an airport, crawl into the
back of a plane, along with some spare
parts, and then bail out over Rome. Just
when I’m set on some such scheme, a letter
like the one Wanda sent me early in Sep-
tember arrives and stops me cold. Or,
maybe I should say, warm. Warm with
tenderness.

Skipper’s no kind of a letter writer.
Neither am I. Incidentally, I could go on
with this “she isn’t and neither am I”
routine for hours. You know how it is
when you’re in love. The big thrill is dis-
covering all those “I liked such-and-such
and so do you” and “I don’t like such-and-
such, and isn’t it wonderful that you don’t
either,”

Well, Skipper doesn’t smoke or drink and
I don’t either. I never asked her why she
doesn’t, but I’m glad it’s a fact. With me,
keeping off liquor and cigarettes isn’t
moral. I just hate the waste of them — the
waste of time and money.

I’ll explain about that letter my girl sent
me in September. There was a photograph
enclosed of a little dark-eyed kid. Some
little Italian boy, I suppose. But on the

back of it, Wanda had written, “This is
Danny.” That broke me up completely.
Why? Because Danny’s the name of our
son-to-be. Our first-born-to-be. After
Danny, we plan to have Kathleen. We hope.
Then we get two others, another boy, fol-
lowed by another girl. Or maybe what
we’ll get is four girls in a row, like Eddie
Cantor, or four boys, like Bing. But we
will have four and we want them soon so
that we can grow up with them. Then
maybe later, we will have three or four
more.

Even having those first four is looking
a long way ahead. But that’s the way Skip-
per and I dream. And what else is mar-
riage but two people dreaming the same
dream for their whole lives and working
together to make it come true?

Listen to me! I guess I should confess I
didn’t expect to get married so soon and
least of all to a movie actress. Girls — or so
a certain little girl who is a movie actress
has told me — think about marriage all their
lives. A fellow doesn’t do that. The way
it is with a guy is that he starts with an
idea of his dream girl. Then, if he finds
her and she lives up to the dream, the
mood of marriage just sort of drifts over
him. He’s trapped for life and scared
about it and glad about it, all at the same
time. During the war, my dream girl
began to take form. Back home in King-
ston, Texas, I never had a steady girl.
Never had the time or the money for a
steady girl.

I’m the second oldest of us seven Mur-
phys. My father died when I was twelve,
my mother when I was sixteen. The three
youngest kids had to go into an orphanage.
We all hated that, but it was the best we
could do. The first thing I did when I hit
Hollywood and collected some dough was
to get them out of there. They’ve got a
real home now, or at least as good a home
as you can make when there’s no mother
and father.

I went to work at twelve. I tried to get
into the Marines in 1941 when I was seven-
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My idea of a girl was of one who was
petite, not beautiful, but nice. I wanted a
girl who was all woman, but not one you
would have to carry around on a pillow.
When they washed me out of service with
a fifty per cent disability that includes a
trick stomach, a hip that snarls in cold

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weather and some ex-frozen feet that hate
winter, I knew I was a lucky character,
getting my chance through Jimmy Cagney
to come to California. I didn’t know
whether or not I could act (I still don’t
know) but I was positive I could use that
California sunshine. Jimmy Cagney and
his wife couldn’t have been nicer. I lived
out on their ranch. I couldn’t eat much
because of my trick stomach. I didn’t
know anybody in Hollywood and I felt
shy, anyhow. My hip ached and my feet,
as the saying goes, were killing me.

Six months went by. Why they didn’t
put me before a camera, I don’t know.
Then one day, I picked up an old copy of a
magazine and saw Wanda’s picture on the
cover. You’ve probably heard that part of
the story. It’s been told a lot. So I’ll just
repeat that I set up a date through friends,
for us to meet. We all had dinner in the
Cagney guest house.

Wanda was prettier than even I had
expected and nicer than I’d dared hope. I
took her home at ten o’clock and we shook
hands. I told her I’d call her and because I
didn’t want to look too eager, I waited a
week. But that week seemed to be nine-
teen months long. It’s the second date that
counts. And then the third. And then the
fourth. After that, zing go the strings of
your heart, if you don’t look out. And I
didn’t look out, particularly after that
weekend Wanda, her parents and I spent
together in the High Sierras.

I was delighted when I found out that if
my girl wasn’t exactly a sharpshooter, at
least she wasn’t afraid of a gun. I’ve hunted
all my life. Had to, for food. But I love hit-
ting a target and it was a thrill to see Skip-
per learning how to do that, too. And I
got a big bang out of our going fishing,
and horseback-riding — discovering she was
a real outdoor girl, who could also be
just the opposite — all glamoured up — when
she chose. It was good to find out that
Wanda had grown up in Jacksonville,
Florida, scratching for pennies, just as I
had. She’d gone to work at fourteen, in
little theaters.

Her father, whom I admire a lot, is a
carpenter. We talked man to man, under-
standing each other. And it was nice, too,
to find out the girl could cook, particularly
Southern fried chicken. I did my own
cooking for a year, so I appreciate good
cooking, when I get it. Once the Hendrix
family owned a restaurant, so Mrs. Hen-
drix knows about food and she taught
Wanda.

By the time the Christmas holidays of
1946 approached, we were engaged. That’s
why we hope to be married this year at the

same season. Sentimental once more, you
see. And our love letting both of us rise
above our Hollywood fears.

Wanda wants to stay in movies for a few
years, and as long as she’s happy, that’s
what I want, too, but I’d hate to have her
stay in pictures too long. We both think
it’s bad for children to grow up separated
from their parents.

After not getting into any pictures and
only playing a bit in Alan Ladd’s picture,
“Beyond Glory,” I’m now under contract to
Paul Short, and I’ve had this swell chance
at “Bad Boy.” I like the picture because I
think it will have a good effect on kids.
Being an orphan, just like the kid in the
story, I know I could have done the same
thing he did. I’d always like to do movies
that may do some good in the world. That
is, if possible. But what we are mostly
guarding against is beginning to believe
our own publicity. Once you start that —
begin to let other people live your life for
you — you are in trouble.

Right now, I’m getting our apartment
ready for my girl’s return. I’m not doing
any decorating, because I think I’m color
blind, but I’m getting the furniture and
Wanda can do all that stuff about buying
carpets and curtains when she gets here.
Nights, I write her about the shape of
every chair I buy and such-like, except
those nights I work on my book, “To Hell
and Back,” which Henry Holt and Com-
pany are going to publish this coming
spring. But when I start writing about
those war days and nights, I interrupt my-
self thinking of Skipper and how she’s
changed me, making me a kinder person.
I like being nice to nice people, but it’s
tough for me to act that way to people I
don’t like. Wanda has a way of being
nice to everyone. She’s a gentle girl. She’s
a pretty girl, even if she has got a complex
about her figure. I like her tiny, the way
she is, and I think she’s built just right.

The critics say she has a new glamour
in “Miss Tatlock’s Millions,” with all those
glittering clothes she wears and her hair
cut and dyed red. So, okay, that’s her
career side. But they don’t know the half
of it. They ought to know the girl I know.
Especially on those outdoor dates, wear-
ing old riding clothes and her face so
happy and shining that you can’t look at
anything else in the world. With those
green eyes of hers twinkling and her face
framed by that brown hair of hers! Won’t
Danny and Kathleen and all the other
little Murphys be lucky, too, having a
mother like that? And won’t I be lucky,
too, having such a wife? I’m telling you!

The End

Buying furniture for their new apartment keeps Audie busy while Wanda’s away.
Choosing the right rugs will be her chore but a fellow can look, can’t he?

Cheers and Jeers:

I used to like Peter Lawford, but when
he was in Cleveland he reported he
thought nothing of teen-agers and wanted
nothing to do with them when a group of
us went to get his autograph. Wasn’t it
teen-agers that boosted him to stardom?

Jean Schreiber
Olmsted Falls, O.

Have just finished reading “A Gay His-
tory of Hollywood” and I will say it is
one article that held my interest from
beginning to end. How about asking Hol-
lywood to produce an article like that in
pictures and call it ‘‘The Hollywood
Story.” Tell them to round up all the
stars, show some flashbacks and produce
the biggest movie of all time. Contact
Howard Hughes. Maybe he’d produce it.

Ned R. Caporuscio
Altoona, Pa.

I read in a magazine that Lana Turner
and Bob Topping took a lambasting from
English reporters who felt the honey-
mooners gave them a brushoff. I wish I
could cry out to them that they are abso-
lutely wrong. I know Miss Turner
through her pictures since I was a little
girl and even in her bad roles, you can
see the gentleness in her eyes.

Mrs. D. Valsamy
Istanbul, Turkey

The Mitchum Question:

I just read “The Strange Case of Rob-
ert Mitchum” (November). I, for one,
do not believe he has been using reefers
for “two years.” Does he look it? Per-
haps he was blue and only experimenting.
He’s had bad breaks before and came
through. He’ll fight. And my best wishes
to the best actor on the screen.

Nanalee Hall
Leon, Ky.

Personally, I think Bob Mitchum’s case
is not only a strange case, but a hopeless
one, unless he does something about it.
Bob had better get wise to the fact that he
has a career, a wife and two children to
look after, and had better settle down.

Nancy McCarthy
Milwaukee, Wis.

Poll Post-mortem:

Let me laugh at the hopeless “Choose
Your Star” results. Out of the four or
five personalities named who will still be
prominent five years from now, your
readers chose only one (Howard Duff)
for a top-six spot. Mr. Duff will still be
there because he is versatile — and he
intends to stick. He’s not my dish of tea,
but I admire him for getting what he
wants. Wanda Hendrix should go to the

top, but I fear her romantic life and a
limitation of suitable roles will discourage
her. Without Shirley Temple’s well-meant
but misguided influence, John Agar would
fall by his own weight.

Peggy G. Millay
Osborn, O.

I just finished reading “Hollywood’s
Most Dangerous Women” (Nov.). Con-
gratulations ! I was wondering if it would
be possible for you to do the same thing
again — only this time charting Holly-
wood’s most dangerous men. I am anxious
to see if my list corresponds with yours.

Louisa Livingston
New York, N. Y.

(See how your list corresponds with
Dorothy Kilgallen’s on page 28.)

Question Box:

We gals in Kentucky want to know
what’s happened to Hurd Hatfield. After
his wonderful performance in "The Pic-
ture of Dorian Gray” we expected at
least two pictures a year.

Peggy Tucker
Louisville, Ky.

(Hurd’s last role was Father Pasquerel
in “Joan of Arc." He is devoting his time
now in New York, looking for a play.)

Was A1 Jolson’s first wife’s name used
in “The Jolson Story”?

Connie Titmus
Ogden, Utah

(Ruby Keeler, Al’s real third wife, was
the one portrayed in the film. His first
wife zvas Henrietta Keller, his second
Ethel Delmer—all of whom were parted
from him by divorce.)

The other night I saw an article that
stated Rory Calhoun’s real name was
Francis Timothy Durgin. In your Feb-
ruary issue, you said his real name was
Francis McCowan. Could you tell me just
what his real name was?

Ann Tyndall
Millbrae, Cal.

(Rory zvas christened Francis McCozv-
an. When his mother remarried, his name
was legally changed to Durgin.)

Could you give me any information as to
when or if “The Robe” will be made?

Richie Watkin
Knoxville, Tenn.

(“The Robe” zvas set to go into pro-
duction with Gregory Peck heading a tre-
mendous cast zvhen Hozvard Hughes came
to RKO and shelved it for reasons of
economy.)

Address letters to this department to
Readers Inc., Photoplay, 205 East 42nd
Street, New York 17, N. Y. However,
our space is limited. We cannot there-
fore promise to publish, return or reply
to all letters received.

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Power's

( Continued jrom page 39) The food and
old wines, served by three men in livery,
were out of this world. Linda, very beau-
tiful, sat at the foot of the table.

A strong, dominant character, Linda.
Educated in Switzerland and more cos-
mopolitan than most girls her age, she
ordinarily influences Tyrone greatly. Just
as Annabella did previously and as I be-
lieve women always will. However, a
famous fortuneteller appeared at the Di
Frasso house the day of the breakfast, I
noticed, and Linda disappeared with her.
Her Mexican background, of course, would
make her susceptible to fortunetellers.
However, any girl in the position in which
she found herself that day might wonder
about the future. Actually, unless Linda
marries Tyrone, she is in a curious posi-
tion. She hoped to play in “Prince of
Foxes” with him until little Wanda Hen-
drix was brought over for the role. Linda’s
screen career, thus far, has not been
promising. It may be she is not photo-
genically appealing. Or it mav be that she
has neglected her career for her romance.
She very much wants to marry Tyrone,
I think.

The evening Orson Welles entertained
for her and Tyrone at his Frascati villa,
she danced again and again with Orson.
Orson, true, sambas and rumbas divinely
and does all the South American dances
extraordinarily well. But Linda, I felt,
hoped to disturb Tyrone who, talking
with friends, seemed not to mind her
enthusiasm for Orson’s terpsichore at all,
in spite of the fact that he is really de-
voted to her. If you ask them to dine, he
turns to her at once to ask “All right,
Linda?” Their manners, really, are those
of a married couple.

Tyrone, at the wedding breakfast, sit-
ting at the head of the table, gave the
impression of a grand seignior. And al-
though the circumstances of a wedding
breakfast without a wedding — and no
word of a wedding — might very well be
embarrassing, Tyrone conducted himself
with warm dignity.

HE HAS matured in the most admirable
way. He dresses well, wearing his
clothes, made by the finest tailor in Rome,
with easy grace. His gray trousers are a
special shade. His socks are gray too, and
his shoes. He talks well. And he listens well.
He is more charming and gentle — a nicer
man in every way — every time I see him.
And his unpretentiousness, quite remark-
able really, is illustrated by the casual
way he goes about. One day when his
company was working a few miles outside
of Florence, and he was in costume and
make-up, he was taken with one of those
sudden, violent toothaches. There was con-
sternation, of course, for he was vital to
that day’s shooting.

“Give me an hour,” he told his director,
as he dashed to his car. He drove to
Florence and sought a dentist to whom he
had been recommended. There was great
excitement in the piazza when the darkly
handsome young man in fifteenth century
clothes rushed through the gathering
crowds — such excitement, in fact, that Ty-
rone borrowed his dentist’s overcoat for
his return to his car.

Tyronie Povoro, they call him over
there. And they adore him. After some of
the demonstrations he has experienced, it
would be reasonable if he saw fit to pro-
ject himself. But that would not be Tyrone.
"With his mind on so many things, he has
onlv a little time to think of himself.

Which reminds me of my holiday in
Venice with the Shah of Persia’s cabana
next to mine. The first day the Shah came
to swim, there were thousands awaiting

Progress

him. Whereupon, thoroughly frightened,
he swam out to sea.

“Your Majesty,” I sought to reassure
him, “it will not happen again, I promise
you. They thought you were Tyronie
Povoro.”

“Tyronie Povoro,” he said. “He is some-
one in the movies, is he not?”

“Ask the two thousand people that
mobbed you who he is,” I suggested.

He believed what I told him, I hope, be-
cause from then on he was left beautifully
alone. The movie stars really have taken
over Europe!

MORE than ever, Tyrone is interested in
his work. Not a rich man — his divorce
settlement to Annabella, among other
things, was, I think, too generous — he
needs money. But above his practical
needs, he takes great pride in what he
does. He’s a very nice star actually. He
doesn't make trouble. He isn’t tempera-
mental. Those who work with him — ex-
ecutives and members of his company and
crew adore him: Talk among themselves
of his sweetness and wish sometimes that.'
for his own good, he was less sweet. But
this, I am sure, will never be. For, how-
ever he grows, the fundamental strains I
have known in him never alter.

He is interested, too, in seeing the world.
History excites him. He does not talk of
returning to Hollywood. He talks of making
pictures in different parts of the world.
“Next,” he says, “I want to make a pic-
ture in Sweden. I want to be an interna-
tional star, Elsa. I can, after all, work
anywhere. A magnificent opportunity that.

I do not mean to neglect it.”

Enormously responsive about all man-
ner of things, he especially enjoys people.
Last year, for instance, when he was in
Italy — long before he knew he would be
filming "Prince of Foxes” there, he met
a young musician, poor and obscure. “I
want to play for you, Mr. Power,” said
this young man. Tyrone recognized his
music as lovely. And when he returned to
Rome last spring, he spoke of this young
man to his company’s musical director.
Now the young composer is surely on his
way to fame; for he has done the entire
musical score for “Prince of Foxes.”

Another time, ten years ago, when Ty-
rone was in Cannes, a young French boy
begged to see him.

“Mr. Power,” he asked Tyrone, “do you
think there is any chance I will become
an actor?” Tyrone sought to learn of I
his experience. “Very little,” he ad- i
miffed, “only a few bits as an extra at a
Paris studio.” Tyrone, liking this young
man, said. “You cannot tell how things
will go. If you ever come to Hollywood —
look me up.” And he gave him a little
gold camera he was wearing on his watch
chain. “For luck!”

“Just before I left Hollywood,” Tyrone
said, “I went to dine with friends. One
of the guests was a handsome young man
who is now a star. He came over to me
and handed me a little gold camera. ‘Do
you remember, Tyrone Power,’ he asked,
‘that you gave this to me ten years ago
in France?'

“It was Louis Jourdan!” Tyrone was
pleased as Punch.

You feel these days that Tyrone is grati-
fied by life and anticipates the future. He
has his faith ... He has his work, good in
itself, and offering the satisfying oppor-
tunities of seeing the world and knowing
many people . . . And, it may be, he will
have marriage too.

I never heard, you see. what that for-
tuneteller told Linda.

The End

Brief Reviews

\/y\/ (F) APARTMENT FOR PEGGY — 20th Cen-
tury-Fox: A college campus serves as the setting for
a heartwarming story of a young couple who bravely
tackle their housing problem with the reluctant aid
of an elderly professor. Jeanne Crain and Edmund
Gwenn are perfect, Bill Holden pleasing as a veteran-
student. Don’t miss it. (Dec.)

1/ (F) BABE RUTH STORY, THE— Del Ruth-
Allied Artists: Sentimental saga of baseball’s beloved
" Babe " Ruth, his ups and downs through the years
William Bendix plays the big-hearted Bambino with
Claire Trevor, Charles Bickford, Sam Levene. (Uct.)

1/ (F) BLACK ARROW, T HE — Columbia : Robert
L Stevenson’s romance of 1 5th century England with
Louis Hayward playing the gallant knight rescuing
Janet Blair from George Macready. (Oct.)

lA/ (A) BLANCHE FURY— Rank-Eagle Lion:
Handsome Valerie Hobson and stalwart Stewart
Granger, too ambitious for their own good, lend reahtv
to a turbulent romance of the Victorian era. (Nov.)

i/ (F) CORONER CREEK — Columbia : A grim
and gory Western with rugged Randy Scott on das-
tardly George Macready’s trail with Forrest Tucker,
Marguerite Chapman and Wallace Ford. (Oct.)

l/ (F) CRY OF THE CITY— 20th Century-Fox:
Realistic crime chronicle with Vic Mature as the
cop, Richard Conte as the killer, Debra Paget as
Conte’s girl and Tommy Cook as his kid brother.
Shelley Winters and Hope Emerson are the not-so
innocent bystanders (Dec.)

(F) EMBRACEABLE YOU— Warners: Dane Clark
and Geraldine Brooks fall in love the hard way in this
weepy gangster tale strewn with bullets and roses.
(Oct.)

(F) EYES OF T EX AS — Republic : A fast-’n’-
furious “hoss” opera with Roy Rogers as a U. S.
Marshal out to solve a murder. (Oct.)

1/ (F) FOR THE LOVE OF MARY — U-I : Deanna
Durbin is the center of this tempest-in-a-teapot affair.
A White House telephone operator, she’s pursued by
Don Taylor, Edmond O’Brien and Jeffrey Lynn. The
President and Supreme Court interfere with mod-
erately amusing results. (Dec.)

1/ (F) FURY AT FURNACE CREEK— 20th Cen-
tury-Fox: Gambler Vic Mature turns detective to
vindicate the honor of his army-general father impli-
cated in an Indian massacre. A lively six-shooter with
Coleen Gray, Glenn Langan, Reginald Gardiner. (Oct.)

(F) GOOD SAM — McCarey-RKO : This do-
mestic comedy with a dash of drama and lots of humor
has Gary Cooper playing the Good Samaritan, much to
wife Ann Sheridan’s distress. With Ray Collins, Joan
Lorring, Dick Ross. (Oct.)

(A) HAMLET — Rank-U-I : Shakespeare’s
brilliant tragedy done to perfection with Laurence
Olivier as the Melancholy Dane, Basil Sydney as
Claudius and Jean Simmons as Ophelia. A mag-
nificent and thrilling production. (Oct.)

y (F) HOLLOW TRI UMPH — Eagle Lion: A lurid
meller with Paul Henreid in the dual role of a
fugitive crook and a psychiatrist he strongly resem-
bles It’s Joan Bennett’s sad fate to fall for the guy.
With Leslie Brooks, John Qualen. (Dec.)

(F) ILLEGALS , 7 HE — Levin-Mayer-Burstyn :
An impressive and moving documentary recording the
woes of Europe’s displaced Jews seeking entry into
Palestine via the underground railway. (Oct.)

t/l/ (F) INNOCENT AFFAIR, AN— Nasser-UA:
A saucy, glossy comedy about a pair of Young Mar-

rieds. Fred MacMurray and Madeleine Carroll are at
their comical best with able assistance from Charles
Rogers, Rita Johnson, Louise Allbritton. (Nov.)

(F) ISN'T IT ROMANTIC?— Paramount: Veronica
Lake, Mona Freeman, Roland Culver, Billy De Wolfe
and Patric Knowles are involved in a slow-paced and
feeble turn-of-the-century filmusical. (Dec.)

// (F) JULIA MISBEHAVES — M-G-M: Greer
Garson goes gay in a frivolous farce. Walter Pidgeon
plays Greer’s ex-husband, Cesar Romero her current
boy friend, Liz Taylor her about-to-be-married daugh-
ter and Peter Lawford her would-be son-in-law. (Dec.)

(F) JUNE BRIDE — Warners: Bette Davis is
a super-efficient magazine editor and Bob Montgomery
is her hard-to-get swain in an amusing comedy full of
bright chatter. With Betty Lynn, Jerome Cowan, Fay
Bainter. (Dec.)

(F) LARCENY — U-I: John Payne plays a 14-
carat faker who sets out to steal Joan Caulfield’s
money and winds up stealing her heart. Swift action,
snappy dialogue and a corking cast, including Dan
Duryea, Shelley Winters and Dorothy Hart. (Nov.)

(A) LIVE TODAY FOR TOMORROW—
U-I: It takes a personal tragedy to make Fredric
March less of a judge and more of a human being
in this somber drama. He turns in a fine acting job,
receiving substantial support from Edmond O'Brien,
Florence Eldridge, Geraldine Brooks and Stanley
Ridges. (Nov.)

yV (A) LOVES OF CARMEN, THE— Columbia:
Leave the kiddies at home when you see this sizzling
story. Rita Hayworth is magnificent at Carmen; Glenn
Ford is the unhappy Don Jose. With Victor Jory,
Arnold Moss. (Nov.)

(F) LUCK OF THE IRISH, THE— 2 0th Cen-
tury-Fox: This Irish folk tale in modern dress has
newspaperman Ty Power playing tag with a pixie, no
less. He’s Cecil Kellaway and he’s out of this world.
Sweet Anne Baxter and sophisticated Jayne Meadows
compete for Ty’s affection. (Dec.)

(F) LUXURY LINER — M-G-M: A joyful mu-
sical jaunt full of melody and fun with George Brent,
Jane Powell, Frances Gifford, Tommy Breen, Lauritz
Melchoir. (Nov.)

1/ (F) MISS TAT LOCK'S MILLIONS— Para-
mount: Barry Fitzgerald hires John Lund to imper-
sonate the nitwit heir to the Tatlock fortune. Lund
saves his “sister” Wanda Hendrix from her vulture-
like relatives, especially ne’er-do-well Robert Stack.
Some funny shenanigans with Ilka Chase and Monty
Woolley. (Dec.)

(F) MR. PEABODY AND THE MERMAID
— U-I: Fun and fantasy are deftly blended in this
hilarious comedy. With William Powell, Irene Her-
vey, Andrea King and alluring mermaid, Ann Blyth.
(Oct.)

(F) MY DEAR SECRETARY— Popkin-UA : All
those boss-secretary stories you ever heard are em-
bodied here with fancy frills. Laraine Day is the
pretty secretary, Kirk Douglas her playboy boss.
Keenan Wynn amusingly referees their squabbles.
With Helen Walker, Rudy Vallee. (Dec.)

^ (F) NIGHT HAS A THOUSAND EYES — Para-
mount : His power to predict the future is the curse
of Edward G. Robinson’s life. When he foresees dire
events for Gail Russell, you can’t blame Gail’s fiance,
John Lund, for claiming it’s a hoax. (Oct.)

(F) NO MINOR VICES — Enterprise-M-G-M :
Here’s a comedy that out-smarts itself, drowning its
chuckles in a torrent of talk. A capable cast includes

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Dana Andrews as a doctor, Lilli Palmer as his wife,
and Louis Jourdan as a screwball artist. (Dec.)

(F) ONE TOUCH OF VENUS— U-I : Boy
meets goddess in this piquant comedy with musical
trimmings. With Ava Gardner, Bob Walker, Olga San
Juan, Dick Haymes. (Nov.)

\/\/ (A) PITFALL — Regal Films-UA: Indiscre-
tion leads to tragedy in a strong domestic drama in-
volving Dick Powell, his wife, jane Wyatt, and the
“other woman,” Lizabeth Scott. (Oct.)

^ (F) RACE STREET — RKO: This sinister gang-
ster story has bookie George Raft tangling with a
rival gang. After Raft’s pal is murdered, police officer
Bill Bendix steps in but Georgie insists on settling the
score personally. (Dec.)

^ (F) RACHEL AND THE STRANGER— RKO:
Unusual pioneer picture with Loretta Young, Bill
Holden, Bob Mitchum. Bill weds Loretta so she can
look after his motherless boy, Gary Gray, but it’s Bob
who woos her. Indians stir up some excitement. (Oct.)

YV (F) RETURN OF OCTOBER, THE — Colum-
bia: A racetrack romance that’s different, galloping
along briskly with Glenn Ford and Terry Moore at
the reins. James Gleason, Albert Sharpe, Dame May
Whitty contribute to the fun (Dec.)

^ (F) SAXON CHARM, THE— U-I: Interesting
portrait of an egocentric producer who creates havoc
and heartbreak at every turn. Bob Montgomery is the
chap who gives playwright John Payne and his wife,
Susan Hayward, such a rough time. With Audrey
Totter and Heather Angel. (Nov.)

y' (F) SEALED VERDICT — Paramount: Uneven
but interesting topical drama inspired by the Nurem-
berg Trials. Ray Milland is an American prosecutor
stymied by insufficient evidence against Nazi John
Hoyt. Florence Marly is the romantic interest. (Dec.)

V* (F) SOblG lb BORN, A — Goldwyn: Lots of jam
and a little corn is what you’ll get in Danny Kaye-
latest comedy. Danny is an unworldly professor, Vir-
ginia Mayo a night club singer who plays him for a
sucker. Benny Goodman, Tommy Dorsey, Louis Arm-
strong give out with some swell music. (Dec.)

\/\/ (F) SORRY, WRONG NUMBER — .Para-

mount: A hair-raiser, crammed with suspense, team-
ing Barbara Stanwyck and Burt Lancaster to fine
advantage. Babs is a woman marked for murder. Burt
is her morally weak hubby. (Oct.)

^ (F) SOUTHERN YANKEE, A — M-G-M: Red
Skelton in a slapstick farce of Civil War spies with
Red knocking himself out to win laughs. Arlene Dahl
is the feminine foil, George Coulouris and Brian Don-
levy a pair of knaves. A small-fry special. (Dec.)

^ (F) STATION WEST — RKO: Dick Powell goes
rugged when he trails a gang of gold hijackers. Gam-
bling queen Jane Greer, on the wrong side of the law.
is hound to come to a bad end. A slam-bang oat opera
including Agnes Moorehead, Burl Ives. (Dec.)

(F) THAT LADY IN ERMINE— 20th Century-Fox :
For all its royal trappings, this fancy folderol fails
to come off. Betty Grable plays a glamorous Italian
countess whose honeymoon with Cesar Romero is
rudely interrupted by Doug Fairbanks. (Oct.)

(F) THEY LIVE BY NIGHT— RKO: Love
hasn’t much of a chance in this pathetic tale of a run-
away convict and his girl. Fine acting by Farley
Granger and Cathy O’Donnell. (Dec.)

yy (F) THREE MUSKETEERS, THE— M-G-M:
The Alexandre Dumas novel provides lively, lusty film
fare. Gene Kelly is the dashing D’ Artagnan, Lana
Turner the bewitchingly bad Lady de Winter, June
Allyson the lovely Constance, Van Heflin an unhappy
musketeer, Vincent Price a deep-dyed villain. It’s
colorful, exciting and oh, so romantic 1 (Dec.)

Photoplay's Industry Engineered Dream House

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Hardwood Floors by E. L. Bruce
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Insulation by National Mineral Wool
Roofing by Asphalt Roofing Industries
Millwork by Ponderosa Pine
Wallboard by Gypsum Association

The Furnishings Will Be:

Rugs and Carpeting by Alexander Smith
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Clothes Washer, Dish Washer and Gladiron
by Thor Corp.

Two Bedroom Suites by Mengel
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Upholstered Living-room Suite by
Kroehler Mfg. Co.

Dinette Suite by Mengel Furniture Co.
Crosley Radio by Avco Mfg. Co.

Desk and Bookcase by Mengel
Furniture Co.

Cedar Chest by Lane Chest Co.
Closet and Wardrobe Accessories by
E-Z-Do and Princess House
Electronic Blankets, Beauty Rest
Mattresses by Simmons Co.
Window Shades and Drapes by Clopay
Corp.

FLOOR PLAN

AREA

S' X II '10"

Sheets and Pillowcases by Dan River
Mills, Inc.

Towels by Dundee Mills, Inc.
Shower Curtains by I. B. Kleinert
Rubber Co.

Wallpaper by United Wallpaper
Vacuum Cleaner by Apex Electrical
Mfg. Co.

Lamps for Bedroom, Living Room and
Kitchen by Certified Lamp Makers
Modern Hall Clock and Door Chimes by
NuTone Door Chimes
Ozite Under-rug Cushions by American
Hair & Felt Co.

Carpet Sweeper by Bissell Carpet
Sweeper Co.

Flatware Service for Four by Dirilyte
Flatware

Refresher Boxes for Storing Food by Ruzak
Shelving and Doilies by Royledge Co.
Mirrors by Donnelly-Kelley Glass Co.
Electric Toaster, Never-lift Iron,
Cordminder by Proctor Electric Co.
Jewelite Brushes and Dresser Set by
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Fire King Ovenware, 53-Piece Set Jade-ite
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LIVING ROOM
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Casts of Current Pictures

ACCUSED, THE — Paramount: Wilma Tuttle, Lor-
etta Young; Warren Ford, Robert Cummings; Lieut.
Ted Dorgan, Wendell Corey; Dr. Romley, Sam Jaffe;
Bill Perry, Douglas Dick; Susan Duval, Suzanne Dal-
bert; Mrs. Conner, Sara Allgood; Jack Hunter,
Mickey Knox.

BLOOD ON THE MOON — RKO : Jimmy Garry,
Robert Mitchum; Amy Lufton, Barbara Bel Geddes;
Tate Riling, Robert Preston; Kris Barden, Walter
Brennan; Carol Lufton, Phyllis Thaxter; Jake Pinka-
lest, Frank Faylen; John Lufton, Tom Tully; Milo
Sweet, Charles McGraw; Joe Shotten, Clifton Young;
Frank Rear dan, Tom Tyler; Fred Barden, George
Cooper; Ted Elser, Richard Powers; Cap Willis, Bud
Osborne; Nels Titterton, Zon Murray; Bart Daniels,
Robert Bray.

DECISION OF CHRISTOPHER BLAKE, THE—
Warners: Evelyn Blake, Alexis Smith; Kenneth
Blake, Robert Douglas; Christopher Blake, Ted Don-
aldson; Richard Caldwell, John Hoyt; John Kurlick,
Art Baker; Clara, Mary Wickes; Judge Adamson,
Cecil Kellaway; Ruth, Alexis Smith.

GALLANT BLADE, THE— Columbia: Lt. David
Picard, Larry Parks; Nation dc Lartigues, Marguerite
Chapman; Marshall Mordore, Victor Jory; General
Cadcau, George Macready; Madame Chauvignac,
Edith King; Paul Brissac, Michael Duane; General
de la Garance, Onslow Stevens; Sergeant Jacques,
Peter Brocco; Major Lanier, Tim Huntley; Henri,
Ross Ford; Georges, Paul Campbell; Lazurcnce, Fred
Sears; Sergeant Martine, Nedrick Young; Due d'
Orleans, Wilton Graff.

HE WALKED BY NIGHT — Eagle Lion: Davis Mor-
gan, Richard Basehart; Marty Brennan, Scott Brady;
Police Sergeant Breen, Roy Roberts; Reeves. Whit
Bissell; Chuck Jones, Jim Cardwell.

HILLS OF HOME— M-G-M: Dr. William MacLure,
Edmund Gwenn; Drumshcugh, Donald Crisp; Tam-
mas Milton, Tom Drake; Mar git Mitchell, Janet
Leigh; Mr. Milton, Rhys Williams; Hopps, Reginald
Owen; Jaimie Soutar, Edmond Breon; Sir George,
Alan Napier; Geordie, Hugh Green; Lord Kilspindie,
Lumsden Hare; Belle Saunders, Eileen Erskine;
David Mitchell, Victor Wood; Burnhrac, David Thur-
sky; Dr. Weston. Frederick Worlock; and Lassie.

JOAN OF ARC — Sierra-RKO: Joan, Ingrid Berg-
man; Isabelle d’Arc, Selena Royle; Jacques d’Arc,
Robert Barrat; Pierre d’Arc, James Lydon; Jean
d’Arc? Rand Brooks; Durand Laxart, Roman Bohnen;
Catherine le Royer, Irene Rich; Henri le Royer,
Nestor Paiva; Jean de Metz, Richard Derr; Bertrand
de Poulengy, Ray Teal; Jean Fournier, David Bond;
Constable of Clervaux, George Zucco; Sir Robert de
Baudricourt, George Coulouris; The Dauphin, Jose
Ferrer; Jean, Duke d’Alencon, John Emery; Georges
de La Tremouille, Gene Lockhart; Regnault de Char-
tres, Nicholas Joy; Charles de Bourbon, Richard Ney;
Court poet, Vincent Donahue; La Hire, Ward Bond;
Dunois, Leif Erickson; Jean de la Boussac, John Ire-
land; Giles de Rais, Henry Brandon; Poton de Xain -
trailles, Morris Ankrum; Raoul dc Gaucourt, Tom
Brown Henry; Louis de Culan, Gregg Barton; Jean
d’Aulou, Ethan Laidlaw; Father Pasquercl, Hurd
Hatfield; Count of Luxembourg, J. Carrol Naish;
Duke of Bedford, Frederic Worlock; Sir William
Glasdale, Dennis Hoey; Duke of Burgundy, Colin
Keith-Johnston; Countess of Luxembourg, Mary Cur-
rier; Wandamme, Roy Roberts; Jean le Maistre, Cecil
Kellaway; Pierre Cauclion, Francis L. Sullivan;
Father Massieu, Shepperd Strudwick; Bishop of Av-
ranches, Taylor Holmes; Earl of Warzvick, Alan
Napier; Jean d’Estivct, Philip Bourneuf; Jean de La
Fontaine, Aubrey Mather; Thomas dc Courcclles,
Stephen Roberts; lsambard de la Pierre, Herbert
Rudley; Nicolas de Houppevillc, Frank Puglia; Guil-
laume Erard, William Conrad; Jean Beau pc re, John
Parrish; Nicolas Midi, Victor Wood; Cardinal of
Winchester, Houseley Stevenson; Prison guard, Jeff
Corey; Executioner, Bill Kennedy.

KIDNAPPED — Parsons-Monogram : David Balfour,
Roddy McDowall; Ailcen Fairlie, Sue England; Alan
Brcck, Daniel O’Herliliy; Captain Hoseason, Roland
Winters; Shuan, Jeff Corey; Ebenezer, Houseley
Stevenson; Rankeillor, Erskine Sanford; Fairlie. Alex
Frazer; Innkeeper’s Wife, Winefried McDowall;
Ransomc, Bobby Anderson; Janet (Houston, Janet
Murdoch; The Red Fox, Olaf Hytten; Mungo. Er-
ville Alderson.

KISS THE BLOOD OFF M Y HANDS— U-I : Jane
Wharton, Joan Fontaine; Bill Saunders, Burt Lan-
caster; Harry Carter, Robert Newton; Tom Widgery,
Lewis L. Russell; Landlady, Aminta Dyne; Mrs.
Baton, Grizelda Hervey; Sea Captain, Jay Novello;
Judge, Colin Keith-Johnston; Superintendent, Regi-
nald Sheffield; Publican, Campbell Copelin; Tipster.
Leland Hodgson; Young Father, Peter Hobbes.

MACBETH — Republic: Macbeth, Orson Welles;
J.ady Macbeth, Jeanette Nolan; Macduff, Dan O’Her-
lihy; Malcolm, Roddy McDowall; Banquo, Edgar
Barrier; A Holy Father, Alan Napier; Duncan, Er-
skine Sanford; Ross, John Dierkes; Lennox, Keene
Curtis; Lady Macduff, Peggy Webber; Sizvard. Lionel
Braham; Young Siziard, Archie Heugly; Fleance,
Jerry Farber; Macduff Child, Christopher Welles;
Doctor, Morgan Farley; Gentlewoman, Lurene Tuttle;
hirst Murderer, Brainerd Duffield; Second Murderer ,
William AWzind \ Seyton, George Chirello; A Porter,
{ jus Schilling; The Three, Brainerd Duffield, Lurene
I'uttle, Peggy Webber.

O’FLYNN, THE — U-l : The O’Flynn, Douglas Fair-
banks, Jr.; Lady Benedetta, Helena Carter; Lord
Sedgemouth, Richard Greene; Fancy Free, Patricia
Medina; Dooley, Arthur Shields; Timothy, J. M.
Kerrigan; Viceroy, Lumsden Hare; Hendrigg, Lud-
wig Donath; Van Dronk, Otto Waldis; Lt. Carpe,
Henry Brandon; Pat, Harry Cording.

PALEFACE, THE — Paramount: " Painless ” Peter
Potter, Bob Hope; Calamity Jane, Jane Russell; Ter-
ris, Robert Armstrong; Pepper, Iris Adrian; Toby
Preston, Robert Watson; Jasper Martin, Jack Searl;
Indian Scout, Joseph Vitale; Governor Johnson,
Charles Trowbridge; Hank Billings, Clem Bevans;
Joe, Jeff York; Commissioner Emerson, Stanley An-
drews; Jeb, Wade Crosby; Chief Yellozv Feather,
Chief Yowlachie; Chief Iron Eyes, Iron Eyes Cody.

RED SHOES, THE — Rank-Eagle Lion: Boris Ler-
montov, Anton Walbrook; Julian Cr aster, Marius
Goring; Victoria Page, Moira Shearer; Ivan Bolcs-
lawsky, Robert Helpmann; Ljubov, Leonide Massine;
Ratov, Albert Basserman; Boronskaja, Ludmilla
Tcherina; Livy, Esmond Knight; Terry Jean Short;
Ike, Gordon Littman; A Balletomane, Julia Lang; Her
Mate, Bill Shine; Professor Palmer, Austin Trevor;
Dimitri, Eric Berry; Lady Neston, Irene Browne;
Stage-door Keeper, Jerry Verno; Lord Oldham, Derek
Elphinstone; Madame Rambert, Madame Rambert.

ROAD HOUSE — 20th Century-Fox: Lily, Ida Lu-
pino; Pete, Cornel Wilde; Susie, Celeste Holm; Jefty,
Richard Widmark; Arthur, O. Z. Whitehead; Mike,
Robert Karnes; Lefty, George Beranger; Sheriff, lan
MacDonald; Judge, Grandon Rhodes.

ROGUES’ REGIMENT — U-I : Wlut Corbett, Dick
Powell; Lili Maubert, Marta Toren; Mark Van Rat-
tan, Vincent Price; Martin Bruner and Carl Reicher,
Stephen McNally; Col. Mauclaire, Edgar Barrier;
Erich Heindotf, Henry Rowland; Li-Ho-Kay, Carol
Thurston; Tran Duy Gian, Phillip Ahm; Kao Pang,
Richard Loo; Sam. Kenny Washington; Rycroft,
Richard Frazer; O’Hara, Dennis Dengate.

SNAKE PIT , THE — 20th Century-Fox: Virginia
Cunningham, Olivia de Havilland; Robert Cunning-
ham, Mark Stevens; Dr. Kik, Leo Genn; Grace,
Celeste Holm; Dr. Terry, Glenn Langan; Miss Davis,
Helen Craig; Gordon, Leif Erickson; Mrs. Greer,
Beulah Bondi; Asylum Inmate, Lee Patrick; Dr. Cur-
tis, Howard Freeman; Mrs. Stuart, Natalie Schafer;
Ruth, Ruth Donnelly; Margaret, Katherine Locke;
Dr. Gifford, Frank Conroy; Miss Hartl Minna Gom-
bell; Miss Bixby, June Storey; Virginia ( Age 6),
Lora Lee Michel; Mr. Stuart, Damian O’Flynn;
Valerie, Ann Doran; Miss Vanee, Esther Somers;
Miss Sommerville , Jacqueline de Wit; Hester, Betsy
Blair; Miss Greene, Lela Bliss; Lola, Queenie Smith;
Miss Seiffcrt, Virginia Brissac; Countess, Grayce
Hampton; Champion, Dorothy Neumann; Singing In-
mate, Jan Clayton; Asylum Inmates, Isabel Jewell,
Victoria Horne, Tamara Shayne, Grace Poggi; Vis-
itor, Syd Saylor; Greek Patient, Angela Clarke;
Boyfs Mother, Mae Marsh.

UNFAITHFULLY YOURS— 20th Century-Fox:
Sir Alfred de Carter, Rex Harrison; Daphne de Car-
ter, Linda Darnell; Barbara, Barbara Lawrence;
August Henschler, Rudy Vallee; Anthony, Kurt
Kreuger; Hugo, Lionel Stander; Szveeney, Edgar
Kennedy; House Detective, Alan Bridge; Tailor,
Julius Tannen; Dr. Schultz, Torben Meyer; Jules,
Robert Greig; Mme. Pompadour, Evelyn Beresford;
Dozvager, Georgia Caine; Musician, Harry Seymour;
Telephone Operators, Isabel Jewel, Marion Marshall.

WALK A CROOKED MILE— Columbia: Philip
Grayson, Louis Hayward; Daniel O’Hara, Dennis
O’Keefe; Dr. Toni Neva, Louise Allbritton; Dr. Rit-
ter Van Stolb, Carl Esmond; Igor Braun, Onlsow
Stevens; Krebs, Raymond Burr; Dr. Frederick Tozvn-
send, Art Baker; Dr. William Forest, Lowell Gil-
more; Anton Radchek, Philip Von Zandt; Dr. Homer
Allen, Charles Evans; Carl Benisli, Frank Ferguson;
Alison ‘.mmy Lloyd; Potter, Bert Davidson; Ivan,
Paul Bryar; Feodore, Howard J. Negley; Curly,
Crane Whitley; Adolph Mizner Grandon Rhodes.

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Muscles, Magnetism and Menace

(Continued jrom page 29) into a village
drugstore prays will be sitting on a stool
at the counter. The kind she hopes will
take her to the Junior Prom. The general
picture she has in mind when she dreams
about graduation day at Annapolis, or
flirtation walk at West Point. John looks
like the all-American ideal you find on
recruiting posters for the U.S. Marines —
the ones with hair beguilingly tousled,
every muscle beautifully in place. Clear
eyes, good teeth, clean-cut every inch of
the way— that’s John. In fact, he looks
just like the kind of a boy who would
grow up to marry Shirley Temple.

Montgomery Clift: This lad’s appeal is
based on something else again. He has a
sullen inscrutability that a large segment of
the female population finds hard to resist.
What’s going on behind those sly, sliding
eyes? What does he mean by those mono-
syllables? He’s not big, but he’s tough.
He’s sweet, but menacing. He gives the
impression that he could get along without
women easier than he could get along with-
out cigarettes — something that invariably
burns a lady and makes her go to great
lengths to prove otherwise. For all these
reasons, plus the fact that the boy can act,
I think Monty is a cinch to be what
Broadway calls “boff” (meaning box
office). I venture to predict that the apex
of his career v/ill be reached with “The
Heiress.” For this drama contains an
episode d’amour in which Montgomery
makes love to Olivia deHavilland. It lasts
five minutes and in those five minutes, he
doesn’t touch her once — yet he makes it
the hottest exposition of passion ever
shown on celluloid.

Howard Duff: With all due apologies
to the WCTU, I must report that this curly
haired gentleman affects doll-like crea-
tures of my acquaintance much like a
triple Scotch with no chaser. Potent and
smooth, that is. He’s got the face of a way-
ward cherub, the physique of a halfback
and the impact of, well, I’ve already said
it, a triple Scotch. Howard Duff, movie
version, should captivate the lasses as
easily as Sam Spade, his radio incarnation,
captures criminals. Those who are at-
tracted by his masculinity plus on the
screen would be surprised if they could
see him off screen with Ava Gardner.
Howard, with his dream girl, is as eager
as a puppy. One night, after a Sam Spade
show, Howard and Ava went to the Brown
Derby, where he spent the entire evening
fussing over Ava as if she were a baby.
When a friend commented about Ava’s
complete nonchalance, Howard com-
mented: “I know — but I love it.”

Farley Granger: This ruiner of bobby
soxers’ appetites is handsome enough to
pose for collar ads or devastate debutantes
in droves, but his big money-making fasci-
nation comes from the hint of weakness he
gets into his characterizations. He’s the
well-bred juvenile delinquent type, the
Dead End kid from the right side of the
tracks. Sometimes when he looks into the
camera in that came-the-dawn way, it’s
enough to convince the hardest cynic
that he has nothing on his mind except
bluebirds and poetry — but those are just
moments. Most often he reminds you of
the town doctor’s son who turned out to
be wild, or the Senator’s boy who eloped
with the waitress who was no better than
she should be. ’E looks like trouble, that’s
wot ’e looks like and you’d be surprised
at how many nice girls are just yearning
to reform a type like that.

Burt Lancaster: Ah, those glistening,
gleaming muscles! Those wide shoulders!
That tapering torso! Not to mention the
thick, streaked, wavy hair in shades of
blond ranging from honey to molasses
and the beautiful look of brooding. Burt
doesn’t give the impression of having
strained his eyes reading Gibbon or Proust,
but you know he takes his vitamins every
day and he’s fit as a fiddle and ready for
action. For girls who like steak and po-
tatoes, Burt is a perfect dish — and don’t
most girls like steak and potatoes?

Peter Lawford: This tall, broad-shoul-
dered English-voiced hepcat is a hunk of
sigh-bait if ever one walked across a strip
of celluloid. There’s a lot of Little Boy in
his approach, to be sure, but when he
contacts — wow! He suddenly grows up
just enough. His catalogue of sure-fire
girl traps includes a curly lock that strays
over his forehead just often enough to be
distracting, a soft intimate smile, one of
those quick you - couldn’t - possibly - be -
mad-at-me-darling smiles. Despite the
fact that he is as swingy a gate as could be
found in a meeting of the Dizzy Gillespie
fan club, he has a persistently genteel
quality and if he were taking you home to
meet the family you’d wear your black
velvet dress with the white collar, because
you just know his mother has a bosom
and a Buckingham Palace accent.

John Lund: He’s a younger, yummier
Gable. When Olivia deHavilland yearned
for him through the years in “To Each His
Own,” no one thought it strange and when
Marlene Dietrich and Jean Arthur com-
peted for his affections in “A Foreign
Affair,” every girl in the audience wished
she was in there pitching, too. It’s his

strong, quiet, complicated quality that does
it as much as anything. He looks diffi-
cult, hard to handle, moody, impossible to
understand. This appeals to the type of
girl who can’t stay away from the cross-
word puzzles in the Sunday paper. Cine-
matically speaking, he has the air of a
fellow who might easily do wrong by Nell.
But that won’t keep the Nells from
swooning over him in large limp numbers.

Gordon MacRae: Oh, watch him! He’s
insidious in a very nice well-mannered
way, and by the time he’s been seen in
half a dozen pictures, some of the well-
established flicker fellows will find them-
selves moving over to make room. He’s
an easy-going, charming guy, sort of a
junior Bing Crosby; his voice is baritone,
his approach, effortless and amiable. The
physique is not bad, not bad at all, and
there are evidences of a college education.
You’ve heard that music has charms — well,
so has Gordon. And he’s got music, too!

Gregory Peck: My position on this sub-
ject is, of course, well-known. Peerless
Peck, I consider him, and I think he will
be numbered among the box office wows
not only five years from now but ten years
from now, because his ability to act is
more genuine than that of most of his con-
temporaries. Aside from his talent, he is
an unbeatable blend of poet and peasant,
a combination of man about town and man
behind the plow. A girl accustomed to
limousines might find herself tramping
through the autumn woods on a nice long
hike with Gregory and loving it; a lass with
the brain of a bird might even go to the
public library and snag herself a sfft of
books just to please him. The “Yellow
Sky” scene which got the most raves from
the girls is that in which he throws Anne
Baxter violently to the ground, slugs her a
couple of times, grabs her in a strangle
hold and finally kisses her. However, after
reading the preview audience’s comments,
Greg commented: “Love techniques must
be changing. If I’d wooed my wife in such
a manner, I’d still be a bachelor.” His
brown eyes and that air of strength and
the way he has of looking down at you
as if you were a little girl . . . aarf!

Richard Widmark: Currently this boy’s
appeal lies in the fact that he looks as if
he might twist your arm and you might
just get to like having your arm twisted.
But one of these days he is going to be cast
in a movie role in which he is not called
upon to make like a case of galloping
neurosis and when that happens I predict
a nationwide epidemic of swooning, high
fever and even higher falsetto shrieks
among the susceptible subdebs. Under the
pasty gangsterish facade he’s been forced
to assume thus far, Dick Widmark happens
to be a good-looking young fellow with a
wonderfully sweet smile, regular features
and a voice so smooth and persuasive it
can make a lady’s upsweep curl with de-
light. Of course, no one’s heard the voice
yet — all that gunfire in his movies drowns
it out — but the day will come.

At a showing of “Street with No Name,”
by-standers were astonished to see an
87-year-old woman rush frantically after
Widmark and request his autograph.
“You’re my favorite star, Mr. Widmark,”
she said. “I just had to see you up close.”

“Why me?” asked the astonished star.

“Well,” the woman explained, “all my
life I’ve been looking for a man like you.
The only trouble is that you came along
65 years too late.”

Note: Phone numbers of the gentlemen
may not be obtained by writing the editor.

The End

tune in on the new CBS show

“HOMETOWN REUNION”

starring

Eddy Arnold

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Read the romantic life story of Eddy Arnold in the January

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VALDA SHERMAN

PHOTOPLAY

Contents for February , 1949

HIGHLIGHTS

Curtain Raiser Fred R. Sammis

I Predict a Honeymoon

(For Jennifer Jones and David O. Selznick) Louella O. Parsons

Love Affair (Rita Hayworth) Elsa Maxwell

Penny Antics Sheilah Graham

Valentine Story ... Susan Peters

Happy Am I Larry Parks

How to Keep Marriage Romantic Jeanne Crain

Make Mine Crosby Style Wally W estmore

My Most Exciting Story Lana Turner

The Lion in Lund Maxine Arnold

Hearts by Candlelight Kay Mulvey

Photoplay Tour of Bel-Air

Star in Your Home Ruth Waterbury

She's Magic (Janet Leigh) Mrs. Fred Morrison

I’d Rather Be a Mother Betty Hutton

Together Again (Ginger Rogers and Fred Astaire)

Calico and Lace Edith Gwynn

Your Photoplay Photo-Plays (Jane Powell — Good Skate)

Photoplay Fashions

32
34
36
38
40
42
44
48
50
52
54
56
58
60
64
66
68
83

There is nothing "wrong" with you. It’s just
another sign you are now a woman, not a
girl ... so now you must keep yourself safe
with a truly effective underarm deodorant.

Two dangers— Underarm odor is a real handi-
cap at this romantic age, and the new cream
deodorant Arrid is made especially to over-
come this very difficulty. It kills this pdor
on contact in 2 seconds, then by antiseptic
action prevents the formation of all odor for
48 hours and keeps you shower-bath fresh.
It also stops perspiration and so protects
against a second danger— perspiration stains.
Since physical exertion, embarrassment and
emotion can now cause your apocrine glands
to fairly gush perspiration, a dance, a date,
an embarrassing remark may easily make
you perspire and offend, or ruin a dress.

All deodorants are not alike- so remember
—no other deodorant tested stops perspira-
tion and odor so completely yet so safely as
new Arrid. Its safety has been proved by
doctors. That’s why girls your age buy more
Arrid than any other age group. In fact, more
men and women everywhere use Arrid than
any other deodorant. It’s antiseptic, used by
117,000 nurses.

Don't be half-safe. During this “age of ro-
mance” don’t let perspiration problems spoil
your fun. Don’t be half-safe— be Arrid-safe!
Use Arrid to be sure. Get Arrid now at your
favorite drug counter — only 39tf plus tax.

(Advertisement)

★ ★ ★ ★ ★

FEATURES IN COLOR

Rita Hayworth . 35

Esther Williams

and Ben Gage 38

Dan and Elizabeth Dailey 39

Mona Freeman

and Pat Nerney 39

Claire Trevor

SPECIAL EVENTS

Gail Russell and Guy Madison 39

Jeanne Crain 42

John Lund 51

Tour of Bel-Air 54

Janet Leigh 58

Shelley Winters 83

A Dream Takes Shape

101

Inside Stuff — Cal York

Beauty Spots

Laughing Stock

Brief Reviews

Platter Patter . . . .

Casts of Current Pictures

Readers Inc.

Down Beat

Shadow Stage

What Should I Do? 10

Cover: Lana Turner, star of “The Three Musketeers”
Design by Otto Storch

Fred R. Sammis, Editorial Director
Ruby Boyd, Managing Editor
Alice Tiller, Assistant Editor
Rena D. Firth, Assistant Editor

Beverly

Adele Whitely Fletcher, Editor
E. Davenport, Executive Art Director
Deli Hoffman, Associate Art Director
Mary Jane Fulton, New York Beauty Editor
Linet, Assistant Editor

Ann Daggett, Hollywood Editor
Frances Morrin, Hollywood Managing Editor
Sara Hamilton, Associate Editor
Ruth Waterbury, Contributing Editor

Hymie Fink, Photographer
Sterling Smith, Photographer
Betty Jo Rice, Asst. Photographer
Maxine Arnold, Contributing Editor

FEBRUARY. 1949

VOL. 34, NO. 3

PHOTOPLAY, published monthly by MACFADDEN PUBLICATIONS, Inc., New York, N. Y. General Business, Editorial,
and Advertising offices, 205 East 42nd Street, New York 17, N. Y. Hollywood-Beverly Hills Office: 321 S. Beverly
Drive, Beverly Hills California. O. J. Elder, President; Harold Wise, Executive Vice President; Herbert G. Drake, Vice
President: Joseph Schultz, Vice President; Ernest V. Heyn, Vice President; Meyer Dworkin, Secretary and Treasurer;
Edward F. Lethen, Advertising Manager; Charles O. Terwilliger, Jr., Eastern Advertising Manager. Chicago Office:
221 North La Salle St., Leslie R. Gage, Mgr. San Francisco Office: 1613 Russ Building, Joseph M. Dooner, Mgr.
Los Angeles Office, Suite 908, 649 South Olive St., George Weatherby Mgr. Reentered as Second-Class matter,
Mav 10, 1946, at the Post Office at New York, N. Y., under the act of March 3. 1879. Subscription rates: U. S. and
Possessions and Newfoundland $1.80 per year. Canada $3 per year. All other countries $4.00 per year. Price
per copy, 15c in the United States, 25c in Canada. While Manuscripts, Photographs and Drawings are submitted
at the owner’s risk, every effort will be made to return those found unavailable if accompanied by sufficient first-
class postage and explicit name and address. But we will not be responsible for any loss of such matter contributed.
Contributors are especially advised to be sure to retain copies of their contributions, otherwise they are taking an
unnecessary risk. Copyright 1949, by Macfadden Publications. Inc. All rights reserved under International Copyright
Convention. All rights reserved under Pan-American Copyright Convention. Todos derechos reservados
La Convencion Panamericana de PTopiedad Literaria y Artistica. Title trademark registered in U. S. Patent
Member of Macfadden Women's Group.

All foreign editions handled through Macfadden Publications International Corp., 205 East
42nd Street, New York 17, N. Y. Carroll Rheinstrom, President; Douglas Lockhart, Vice-President,

The contents of this magazine may not be reprinted either wholly or in part without permission.

Printed in U. S. A. by Art Color Printing Co., Dunellen, N. J.

"The Sun Comes Up”

and your heart goes with it!

It’s a joyous Technicolor entertainment
from M-G-M. By the famed author of

The Yearling”, Marjorie Kinnan Rawlings,
it brings you lovely, golden-voiced

eanette MacDon

singing six magnificent songs,

favorite star Lloyd Nolan

and Academy Award winner

Claude Jarman, Jr. with his

new pet Lassie!

Brief Reviews

(see answer below)

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Which twin has the TONI?

Talented, teen-age Kathlene and Helene
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lene, the twin on theright,hastheToni.She
savs: "I never knew a permanent could
look so natural right from the start!”

(F) ACCUSED, THE— Paramount: School-
marm Loretta Young can count herself lucky she has
Attorney Robert Cummings to look after her, when she
kills Douglas Dick in self-defense, arousing the sus-
picions of Wendell Corey. An absorbing story with
Loretta turning in a fine job. (Jan.)

APARTMENT FOR PEGGY— 20th Cen-
tury-Fox: A heartwarming story of a young couple
who bravely tackle their housing problem with the re-
luctant aid of an elderly professor. Jeanne Crain and
Edmund Gwenn are perfect. Bill Holden pleasing as
a veteran student. Don’t miss it. (Dec.)

1/ (F) BLOOD ON THE MOON — RKO : Bob
Mitchum rides the range in a rough-and-ready West-
ern. Superior acting and good photography make up
for a routine story. With Barbara Bel Geddes, Bob
Preston, Walter Brennan, Phyllis Thaxter. (Jan.)

1/ (F) CRY OF THE CITY— 20th Century-Fox:
Realistic crime chronicle with Vic Mature as the
cop, Richard Conte as the killer; also Debra Paget,
Shelley Winters and Hope Emerson. (Dec.)

(A) DECISION OF CHRISTOPHER BLAKE ,
THE — Warners: Moss Hart’s drama on divorce made
into an effective adult movie. With Alexis Smith,
Robert Douglas and Ted Donaldson. (Jan.)

^ (F) FOR THE LOVE OF MARY-U-l: Deanna
Durbin is the center of this tempest-in-a-teapot affair.
A White House telephone operator, she’s pursued by
Don Taylor, Edmond O’Brien, Jeffrey Lynn. (Dec.)

(F) GALLANT BLADE, T HE — Columbia : In this
swashbuckling affair Larry Parks saves 17th-century
France. With Marguerite Chapman, George Mac-
ready, Victor Jory. (Jan.)

\/)/ (F) HE WALKED BY NIGHT— Eagle Lion:
Here’s a high-voltage crime yarn bristling with action.
Richard Basehart is the ruthless killer, Scott Brady
the cop, Whit Bissell the go-between. (Jan.)

^ (F) HILLS OF HOME — M-G-M: A homespun
story depicting the rigors of rural life with Edmund
Gwenn as a do-or-die country doctor and Lassie as
his loyal canine friend. For romantic interest, there’s
likeable Tom Drake and pretty Janet Leigh. (Jan.)

i/ (F) HOLLOW TRIUMPH— Eagle Lion: A lurid
meller with Paul Henreid in the dual role. With Joan
Bennett, Leslie Brooks, John Qualen. (Dec.)

(F) INNOCENT AFFAIR, AN— Nasser-UA :
A saucy, glossy comedy about a pair of Young Mar-
rieds, Fred MacMurray and Madeleine Carroll, at
their comical best. (Nov.)

(F) ISN’T IT ROMANTIC ? — Paramount: Veronica
Lake, Mona Freeman, Roland Culver, Billy De Wolfe
and Patric Knowles are involved in a slow-paced and
feeble turn-of-the-century filmusical. (Dec.)

'S'S (F) JOAN OF ARC — Wanger-RKO: Maxwell
Anderson’s play made into a big-scale Technicolor
movie with Ingrid Bergman heading an outstanding
cast. Jose Ferrer scores as the Dauphin. A field day
for lovers of pomp and pageantry. (Jan.)

(F) JULIA MISBEHAVES— M-G-M: Greer
Garson goes gay in a frivolous farce. With Walter
Pidgeon, Cesar Romero, Liz Taylor, Peter Lawford.
(Dec.)

'S'S (F) JUNE BRIDE — Warners: Bette Davis is
a super-efficient magazine editor and Bob Montgomery
is her hard-to-get swain in an amusing comedy. (Dec.)

(F) KIDNAPPED — Monogram: Tepid version of the
Stevenson classic with Roddy McDowall as the
orphaned young Scot. (Jan.)

yy (F) KISS THE BLOOD OFF MY HANDS—
U-I : This romantic melodrama has hot-headed Burt
Lancaster messing up his life and nearly wrecking
Joan Fontaine’s, too. A lively, lusty thriller. (Jan.)

yy (F) LARCENY — U-I: John Payne plays a 14-
carat faker who sets out to steal Joan Caulfield’s
money and winds up stealing her heart. Swift action,
snappy dialogue and a corking cast. (Nov.)

(A) LOVES OF CARMEN, THE — Columbia:
Leave the kiddies at home when you see this sizzling
story. Rita Hayworth is magnificent as Carmen;
Glenn Ford is the unhappy Don Jose. (Nov.)

^ (F) LUCK OF THE IRISH, THE— 20th Cen-
tury-Fox: This Irish folk tale in modern dress has
newspaperman Ty Power playing tag with pixie Cecil
Kellaway. Sweet Anne Baxter and sophisticated Jayne
Meadows compete for Ty’s affection. (Dec.)

k/l/ (F) LUXURY LINER — M-G-M: A joyful mu-
sical jaunt full of melody and fun with George Brent,
Jane Powell, Frances Gifford, Tommy Breen, Lauritz
Melchior. (Nov.)

\/ (A) MACBETH — Mercury-Republic: Orson
Welles’ version of Shakespeare’s blood-curdling tale
of murder in 17-century Scotland. Weird and noisy
affair, “full of sound and fury . . (Jan.)

^ (F) MISS TAT LOCK’S MILLIONS— Para-
mount: Barry Fitzgerald hires John Lund to imper-
sonate the nitwit heir to the Tatlock fortune. Lund
saves his “sister” Wanda Hendrix from her vulture-

You might at least
have the grace not
to make love to her
in my own home!"

Lovely

Phyllis Calvert

Do post-war morals allow
this titian-haired beauty to
accept a man’s kisses while
her Sips still quiver with
those of his only son?

Sensational
Wanda Hendrix

“Tonight I saw my best
friend in the arms of
my brother, the woman
to whom my father has
given his love!”

I love to teach dancing

M(/ pupi/s /earn so much /aster!"

Even beginners become popu-
lar partners in a fraction of
the usual time!

' ' I ’m so excited about 'The N ew
Arthur Murray Way’ of teach-
ing dancing. It seems like magic
the way the Fox Trot, Waltz,
Samba, Rumba, all develop
out of his new discovery, 'The
First Step To Popularity’. Be-
ginners are thrilled to find they
can go dancing after only one
hour . . . and amazed how little
it costs to learn. And right
now we have a special half-off
price that saves you even more.
But why don’t you come in to
the Studio for a FREE dance
analysis and see for yourself
what 'The New Arthur Murray
Way’ can do for you.”

PROOF You Can Dance
After One Lesson !

See how quickly you can learn
to dance "The New Arthur Mur-
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cinating, entertaining instruc-
tions on all dances. How to Lead,
Follow, etc. Clip coupon below.

“The Rumba’s a great
favorite,” says Madeleine
Murphy. “It’s such fun
to see a beginner do this
gay dance after just one
lesson. Teaching really is
fun this new way.”

“The Samba’s such fun
and looks so tricky that
everybody loves to do it,”
says Joyce Lyons.“And,
you can learn it in an
hour thanks to ‘The New
Arthur Murray Way’.
Honestly it’s that easy!”

ARTHUR

MURRAY

Dance Studios from
Coast to Coast

Visit the one neorest you for

a FREE dance analysis

Copr. 1949 — Arthur Murray Inc.

^ ARTHUR MURRAY STUDIOS, Dept. 14B (Con-
suit telephone directory for address of nearest
studio, or write Arthur Murray Studios, 11 East
43rd Street, New York 17, N. Y.) Please send me
your magazine, “Murray-Go-Round”, 44 pages of
pictures, dance news, instructions. I enclose 25c.

NAME-

ADDRESS-

CITY-

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Photoplay — Feb.

like relatives, especially ne’er-do-well Robert Stack.
With Ilka Chase and Monty Woolley. (Dec.)

k/ (F) MY DEAR SECRETARY— Popkin-UA: All
those boss-secretary stories you ever heard are em-
bodied here with fancy frills. Laraine Day is the
pretty secretary, Kirk Douglas her playboy boss. ■■
Keenan Wynn referees their squabbles. (Dec.)

(F) NO MINOR VICES — Enterprise-M-G-M :
Here’s a comedy that out-smarts itself, drowning its j
chuckles in a torrent of talk. A capable cast incLudes 4
Dana Andrews, Lilli Palmer, Louis Jourdan. (Dec.)

^ (F) O’FLYN N THE — U-I; True to the Fair-
bank’s formula, Doug rescues damsel-in-distress j
Helena Carter in Ireland of 1797. Richard Greene
makes a handsome traitor, Patricia Medina is his
sweetie, Arthur Shields a comical bailiff. (Jan.)

(F) ONE TOUCH OF VENUS— U-I: Boy
meets goddess in this piquant comedy with musical
trimmings. With Ava Gardner, Bob Walker, Olga San
Juan, Dick Haymes. (Nov.)

V' (F) PALEFACE, THE — Paramount: Bob Hope
tangles with Injuns and the gal known as Calamity
Jane in this moderately funny spoof on the Old West.
Jane Russell is oh-so-tough as the gun-totin’ female
who knows a sap when she sees one. (Jan.)

I/V (F) RED SHOES, T HE — Rank- Eagle Lion:
This intimate glimpse into the ballet world is a riot
of colors designed to knock your eye out. It’s bizarre,
artistic, overlong, with Moira Shearer tragically torn
’twixt career and love, Anton Walbrook as a heartless
impresario, Marius Goring a composer. (Jan.)

)/\/ (F) RETURN OF OCTOBER . THE — Colum-
bia: A racetrack romance that’s different, galloping
along briskly with Glenn Ford and Terry Moore at
the reins. (Dec.)

(F) ROAD HOUSE — 20th Century-Fox: Plenty of
roughhouse in this road house what with Richard Wid-
mark strongly objecting to the romance between his
manager, Cornel Wilde, and his entertainer, Ida
Lupino. Lots of action leading nowhere. (Jan.)

k / (F) ROGUE'S REGI MENT — U-I: A spy thriller
packed with savage intrigue. Dick Powell is after
Nazi Stephen McNally who flees to Saigon to escape
trial. With Marta Toren and Vincent Price. (Jan.)

(F) SAXON CHARM, THE— U-I: Interesting
portrait of an egocentric producer who creates havoc
and heartbreak at every turn. Bob Montgomery is the
chap who gives playwright John Payne and his wife,
Susan Hayward, such a rough time. With Audrey
Totter and Heather Angel. (Nov.)

(F) SEALED VERDICT — Paramount: Uneven
but interesting topical drama inspired by the Nurem-
berg Trials. Ray Milland is an American prosecutor
stymied by insufficient evidence against Nazi John
Hoyt. Florence Marly is the romantic interest. (Dec.)

k^k/k/ (A) SNAKE PIT, THE— 20th Century-Fox:

A daringly different drama, depicting the sights and
sounds in an insane asylum. Olivia de Havilland is
superb as one of its inmates. Leo Genn excels as her
doctor, Mark Stevens makes her a sympathetic hus-
band. Strictly for adults. (Jan.)

^ (F) SONG IS BORN, A — Goldwyn: Lots of jam
and a little corn is what you’ll get in Danny Kaye’s
latest comedy. Danny is an unworldly professor, Vir-
ginia Mayo a night club singer who plays him for a
sucker. Benny Goodman, Tommy Dorsey, Louis Arm-
strong give out with some swell music. (Dec.)

^ (F) SOUTHERN YANKEE, A— M-G-M: Red
Skelton in a slapstick farce of Civil War spies with
Red knocking himself out to win laughs. Arlene Dahl
is the feminine foil, George Coulouris and Brian Don-
levy a pair of knaves. A small-fry special. (Dec.)

^ (F) STATION WEST — RKO: Dick Powell goes
rugged when he trails a gang of gold hijackers. Gam-
bling queen Jane Greer, on the wrong side of the law,
is bound to come to a bad end. A slam-bang oat opera
including Agnes Moorehead, Burl Ives. (Dec.)

)S (F) THEY LIVE BY NIGHT — RKO: Love
hasn’t much of a chance in this pathetic tale of a run-
away convict and his girl. Fine acting by Farley
Granger and Cathy O’Donnell. (Dec.)

l/L/ (F) THREE MUSKETEERS, THE— M-G-M: I
The Alexandre Dumas novel provides lively, lusty film
fare. Gene Kelly is the dashing D’Artac/nan, Lana
Turner the bewitchingly bad Lady de Winter, June
Allyson the lovely Constance, Van Heflin an unhappy
musketeer, Vincent Price a deep-dyed villain. It’s
colorful, exciting and oh, so romantic! (Dec.)

l/k/ (A) UNFAITHFULLY YOURS— 2 0th Cen-
tury-Fox: Rex Harrison amusingly portrays a famous
orchestra leader who suspects his lovely wife, Linda
Darnell, of two-timing him. A slick satire. (Jan.)

^ (F) WALK A CROOKED MILE— Columbia : A i
swift-moving thriller with capable Dennis O’Keefe as
an FBI man trailing spies. Detective Louis Hayward I
proves a big help while scientist Louise Allbritton is
the unknown quantity. Good entertainment. (Jan.)

PIRECTED BY

RAOUL WALSH

Screen Play by Robert L. Richards
From the Play by James Hagan
Musical Numbers Created and
f Staged by LeRoy Prinz
Music Arranged and Adapted
by Ray Heindorf

PRODUCED BY

JERRY WALD

"L^oxdluf -14 A smile wins
six offers from Hollywood !

Dorothy Hart, Universal - International Starlet,

blazed onto the Hollywood scene as the winner of a
country-wide beauty contest. Then she spurned the
prize — a movie contract — to become a cover girl.

After Dorothy’s winning smile appeared on the
covers of eight leading magazines in rapid succession,
the movies beckoned again. This time Dorothy couldn’t
say "no” to all six tempting offers she received. She
is on the threshold of stardom now . . . and taking
care to keep the sparkle in her famous smile. "It’s a
Pepsodent Smile,” Dorothy says, "I know from ex-
perience, Pepsodent brightens my teeth best !”

Mr- Scene from Dorothy Hart’s latest picture,

THE COUNTESS OF MONTE CRISTO,

a Universal-International Release.

The smile that wins
is the Pepsodent Smile !

Dorothy Hart knows it. And people all over
America agree — the smile that wins is the Pepso-
dent Smile! Pepsodent removes the film that
makes teeth look dull — uncovers new bright-
ness in smiles!

Wins 3 to 1 over any other tooth paste

Families from coast to coast compared delicious
New Pepsodent with the tooth paste they were
using. By an average of 3 to 1, they said Pep-
sodent tastes better, makes breath cleaner and
teeth brighter than any other tooth paste they
tried. For the safety of your smile use Pepsodent
twice a day — see your dentist twice a year ! another fine lever brothers product

BY ERSKINE JOHNSON

Tune in Erskine Johnson’s “ Hollywood
Story,” Mutual Broadcasting System,
Wednesday, 9:30 p. m., E.S.T.

A HOLLYWOOD producer put an ad in
the paper for an exceptional pigeon to
play a part in a picture. Next morning his
secretary announced that a pigeon was
waiting to see him about the ad.

“In person?” asked the producer, sur-
prised. His secretary nodded.

“Then throw him out,” cried the pro-
ducer. “How good can he be? He ain’t
even got an agent!”

* * *

Notation on a Hollywood call sheet:
“Sixty stunt men. Will be required to
do the following work: Be able to row
well; be able to swim well; will jump in
and help push boats through surf and rocks
in shallow water; will work with horses
and guns, handle swords and do any other
hazardous work required of them. Will
wear mustaches and sideburns. Will be
ready at transportation department at 6
a.m. with costumes and make-up.”

What, no bandages?

* * *

The People of Vancouver gave Bing
Crosby a twenty-foot totem pole following
a charity appearance there. Cracked Bing:

“This is the first time I’ve ever seen

ten Bob Hopes, one on top of another.”

* * *

Preview reaction cards always ask the
question: “Who gave the most outstanding
performance?” The question brought this
reply at a recent preview: “The horse that
pulled the milk wagon.”

* * *

A technical adviser showed Frank Mor-
gan the correct squatting stance for his role
as a baseball catcher in “The Stratton
Story.”

“Fine,” said Frank, getting into the posi-
tion, “but now tell me — how do I get up?”
* * *

“If there’s anything I dislike, it’s one
thing more than another.”

* * *

The manager of a movie theater got
married. The ceremony was just about

like any other except that instead of

throwing rice the guests threw popcorn.
* * *

People who think guided missiles are
something new, obviously have never seen
Grade Allen driving her car down Holly-
wood Boulevard.

* * *

Marie Wilson went to a Vine Street shop
to buy a sweater for her dog. After much
haggling about the correct size, the shop
keeper said: “Why don’t you bring in the
dog?” “Oh,” said Marie, “I couldn’t do
that. It’s a surprise!”

10,000 feet up-roariously in the air

with an impatient corpse

a lightning lashed storm

<§>

no cupi

but a cigar-smoking chimp!

UNIVERSAUIN

ROLAND YOUNG • WILLAI

RKER • PERCY KILBRIDE

It's from that wonderfully
wacky Sat. Eve. POSJ serial
by Robert Carson

Produced and written for the screen by KARL TUNBERG • Directed by H. C. POTTER
A WILLIAM DOZIER PRESENTATION . A RAMPART 1 PRODUCTION

THERE’S ANOTHER GREAT COMEDY ON ITS WAY , "FAMILY HONEYMOON"!

What

Should I Do ?

Claudette Colbert, star
of “Family Honeymoon”

YOUR PROBLEMS ANSWLRED BY CLAUDETTE COLBERT

NEW, LONGER

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EAR Miss Colbert:

When I was twelve years old, my
mother remarried. As I grew older, my
stepfather grew to resent me more each
day. He fussed and fumed at my mother
from morning until night about everything
I did. He didn’t want to buy my school
books or my clothing and I didn’t dare ask
for money for a movie or a magazine.
Mother did what she could for me, but I
could see that she was half sick with worry
over the situation. When I was sixteen, I
met a young man of twenty who was home
from service. He had a good job, so I ran
off and married him, hoping that my
mother could be happy with me gone.
Now, after eight months of marriage, I find
that I don’t love my husband. It would
break his heart if I should tell him that,
because he is kindness itself to me and
buys me everything we can afford. I feel
terribly guilty, taking his love and being
unable to return it, but that’s the way
things are.

Ethel C.

/ have said in this column repeatedly
that sixteen is too young an age for a girl
to marry. I do hope that girls in circum-
stances similar to yours will profit by your
example. It seems to me that the thing
for you to do is to go back to school. I
believe your state is one which supplies
free schooling to persons under eighteen
years of age. If you are busy in work-
ing for your future, the present will not
seem so overwhelming. You should also
have a talk with your husband ; don’t hurt
his feelings. Tell him in the nicest pos-
sible way that you haven’t been able to
get accustomed to being married and that
you will need his help to get adjusted. Be-
cause he loves you, he will try to under-
stand your problem. I believe that many
a marriage is wrecked by silence. If two
people, without losing their tempers or
allotting themselves to be hurt, will sit
down quietly with the idea that each is
anxious to help and understand the prob-
lems of the other, most marital difficul-
ties can be solved.

Claudette Colbert

Dear Miss Colbert:

I have written a play and would like to
get it into the movies. I have no idea how
to go about getting my play into the
proper hands and before the proper people,
so I would appreciate it very much if you
would supply that information.

I have a message, an important one, and
I would also like to make a great deal of
money in a hurry. I understand that selling
a play or story property to motion pictures
is just like striking a gusher.

Will you please assist me with some good
advice?

Barclay T.

There is not now and probably there
never ivill be a royal road to riches. At

the present moment there are probably
around seventy percent of the competent
ivriters in the town of Hollywood who are
unable to sell their scripts. Reason: No
market. The studios simply aren’t buy-
ing, except on rare occasion. They are
using many old scripts with the aid of a
little re-writing and up-to-dating.

The only way for a person who is not
living in Hollywood to break into motion
picture writing is to sell books to pub-
lishers and stories to magazine editors.
If a writer can do this, Hollywood will no-
tice him and will send for him. Please
don’t forget if your story is not good
enough for a book publisher or a maga-
zine editor, it is not good enough for
Hollywood.

Claudette Colbert

Dear Miss Colbert:

I have been interested in art all my life
and am considered good in my home town.
I would like to go to school this spring to
take up fashion designing and commercial
illustrating, but my family think it would
be a waste of money. My mother, espe-
cially, has tried to discourage me, although
I have enough to go on without financial
aid from my family. I have a good secre-
tarial job and Mother thinks I’d be fool-
ish to leave a sure thing. Mother also says
there is a depression coming and this is a
bad time to go to school. I’m taking a
correspondence course in fashion, and I’ve
made B’s so far. However, after working
eight hours a day, it’s hard to sit down and
work on art and I don’t feel it offers me
the type of instruction that an art school
would. I am twenty-one now and I feel
that I could make a success if just given
the opportunity and encouragement.

Juanita V.

It is quite easy to understand your
mother’s attitude. Older people are no-
tably more conservative than their jun-
iors. Undoubtedly, your earning power is
of help in the home and I have the feel-
ing that your mother may feel somewhat
closer to you than she does to some of the
other children. However, because you
are twenty-one, because you will not need
financial aid from your family, because
you will always be able to return to sec-
retarial work, and because it is my belief
that everyone is entitled to at least one
dream in a lifetime, I believe that you
should go to art school.

Claudette Colbert

Dear Miss Colbert:

I am in love with a twenty-three-year-
old boy. I am seventeen. Although Don
says he loves me, he refuses to get married.
At first, when I asked him, he said we
could marry in a year if we felt the same.
Now he says he will promise nothing, as he
is not too sure of himself. We have trouble
with his mother. She does not approve of
his going with ( Continued on page 72)

"I WAS
OF MY

until Viderm mode my dreams of a
dearer skin come true in one short week”

(FROM A LETTER TO BETTY MEMPHIS SENT HER BY ETHEL JORDAN, DETROIT, MICH.)

ASHAMED

BETTY MEMPHIS

If your face is broken out, if bad skin is making you
miserable, here is how to stop worrying
about pimples, blackheads
and other externally caused skin troubles -
JUST FOLLOW SKIN DOCTOR’S SIMPLE DIRECTIONS

*jKetnfi/ub

I just want to be alone!” Is there any-
thing more awful than the blues that
come when your face is broken out and
you feel like hiding away because of
pimples, blackheads and similar exter-
nally caused skin troubles? I know how
it feels from personal experience. And I
can appreciate the wonderful, wonder-
ful joy that Ethel S. Jordan felt when
she found something that not only
promised her relief — but gave it to her
in just one short week!

When I was having my own skin
troubles, I tried a good many cosmetics,
ointments and whatnot that were rec-
ommended to me. I remember vividly
how disappointed I felt each time, until
I discovered the skin doctor’s formula
now known as the Double Viderm
Treatment. 1 felt pretty wonderful when
friends began to rave about my “movie-
star skin.” No more self-consciousness.
No more having my friends feel sorry
for me. The secret joy, again, of running
my fingertips over a smoother, clearer
skin.

Many women shut themselves out of the
thrills of life- — dates, romance, popularity,
social and business success — only because
sheer neglect has robbed them of the good
looks, poise and feminine self-assurance
which could so easily be theirs. Yes, every-
body looks at your face. The beautiful

complexion, which is yours for the asking,
is like a permanent card of admission to
all the good things of life that every
woman craves. And it really can be yours
— take my word lor it! — no matter how
discouraged you may be this very minute
about those externally caused skin miseries.

What Makes “Bad Skin” Get That Way?

M edical science gives us the truth about
how skin blemishes usually develop. There
are small specks of dust and dirt in the air
all the time. When these get into the open
pores in your skin, they can in time
“stretch” the pores and make them large
enough to pocket dirt particles, dust and
infection. These open pores become in-
fected and bring you the humiliation of
pimples, blackheads or other blemishes.
Often, the natural oils that lubricate your
skin will harden in the pores and result in
unsightly blemishes.

w hen you neglect your skin by not giv-
ing it the necessary care, you leave your-
self wide open to externally caused skin
miseries. Yet proper attention with the
Double Viderm Treatment may mean the
difference between enjoying the confidence
a fine skin gives you or the embarrassment
of an ugly, unbeautiful skin that makes
you want to hide your face.

The Double Viderm Treatment is a for-
mula prescribed with amazing success by
a dermatologist and costs you only a few
cents daily. This treatment consists of two
jars. One contains Viderm Skin
Cleanser, a jelly-like formula which
penetrates your pores and acts as an
antiseptic. After you use this special
Viderm Skin Cleanser, you simply ap-
ply the Viderm Fortified Medicated
Skin Cream. You rub this in, leaving an
almost invisible protective covering for
the surface of your skin.

This double treatment has worked
wonders for so many cases of external
skin troubles that it may help you, too
— in tact, your money will be refunded
if it doesn't. Use it for only ten days.
You have everything to gain and noth-
ing to lose. It is a guaranteed treat-
ment. Enjoy it. Your dream of a clearer,
smoother complexion may come true
in ten days or less.

Use your Double Viderm Treatment
every day until your skin -is smoother and
clearer. Then use it only once a week to
remove stale make-up and dirt specks
that infect your pores, as well as to aid in
healing external irritations. Remember
that when you help prevent blackheads,
you also help to prevent externally caused
skin miseries and pimples.

J ust mail your name and address to Betty
Memphis, care of the New York Skin
Laboratory, 206 Division Street, Dept. 2 I ,
New York 2, N. Y. By return mail you will
receive the doctor’s directions, and both

jars, packed in a safety-sealed carton. On
delivery, pay two dollars plus postage. If
you wish, you can save the postage fee: by
mailing the two dollars with your letter.
Then, if you are ini any way dissatisfied,
your money will be cheerfully refunded.
To give you an idea of how fully tested
and proven the Viderm Double Treatment
is, it may interest you to know that, up to
this month, over two hundred and thirty-
one thousand women have ordered it on
my recommendation. If you could only see
the thousands of happy, grateful letters
that have come to me as a result, you
would know the joy this simple treatment
can bring. And, think of it! — the treat-
ment must work for you, or it doesn’t cost
you a cent.

A screen s tar’ s
face is her for-
tune. T bat’s why
she makes it her
business to pro-
tect her c o m-
plexion against
pimples, black-
heads and blem-
ishes. Y our face is
no different. Give
it the Double
Treatment it
needs and watch
those skin blem-
ishes go away.

Shirley Temple, with mother, at homecoming party on
her return to 20th for “Mr. Belvedere Goes to College”

Colleen Townsend went along with Richard Long for
premiere showing of Laurence Olivier in “Hamlet”

Screen and society met at lavish party given by Arnold Kirkeby, ho-
tel owner, for Kay Thompson, who opened his new Mayfair Room
in Beverly Wilshire Hotel. Angela Lansbury comes between Sari
Gabor and George Sanders at party hut not their plans for the . . .

future. Rumor says they will wed. Also there, were
about-to-be-marrieds Diana Lynn and John Lindsay

Clark Cable and Iris Bynum at Mocambo — before their romance
broke up when Clark left Iris at the Ocean House for another girl

Line or Two: Esther Williams seldom has a spare bath-
ing suit and for a very good reason. Her young nieces are
constantly begging their famous aunt for her spare suits
which they sell for a worthy cause — to help the Girl Scout
movement. The nieces are among the Scouts’ most popu-
lar members. And no wonder . . . Merle Oberon came to
the Jules Stein dinner party with Sir Charles Mendl. After
her marital breakup with cameraman Lucien Ballard,
Merle looked anything but disturbed; in fact never looked
more charming. However, Merle won’t be free to marry
her Italian Count for more than a year . . . Richard Ney
is half through his first novel that may hit too close to
certain local personalities for comfort . . . That trail of
hopeful, if not broken, hearts that Lew Ayres seemed to
leave in his wake has come to an end now that he and Jane
Wyman are admitting their love. We look for them to
marry when Jane’s divorce is final . . . Western fans got
their way when they demanded Dale Evans be restored as
Roy Rogers’s leading lady, which makes both Dale and her
husband happy . . . Glenn Ford paced the hospital halls
with his neighbor James Mason when their baby was born.
The Masons named her Portland after Fred Allen’s wife.

Big Night: The Kay Thompson-Williams Brothers open-
ing in the new Mayfair Room of the Beverly Wilshire
Hotel was the swankiest event of the month with all Holly-

wood applauding its favorite performers. In the foyer, Cal
found himself all but engulfed by his old friend Dick
Powell. His wife, June Allyson, was looking radiant and
Cal recalled what June had confided to a friend: “Since
all these new romance and separation rumors, Dick thinks
I’m a fascinating woman.” Could be, too. Peter Lawford
stagged it.

We noticed Ronald Colman eyeing Leo Durocher, who
came with his wife Laraine Day. Van and Evie Johnson
were having a fine time with Claudette Colbert and her
husband, Dr. Joel Pressman.

Cal, who was the guest of Emmy and Will Burlingham,
noted how cozily Shirley and John Agar danced together.
Each had just returned from separate picture locations
and were as happy to be reunited as young sweethearts.
Ginger Rogers, who wore a coiffure of many buns and rolls
in contrast to the many short-haired beauties, seemed to
be having a happy time with husband Jack Briggs. It
isn’t often one sees this pair at parties.

Welcome, Victoria: The little girl in the Ray Milland
home is such a source of joy to Ray, Mai and eight-year-
old Danny Milland, it’s heart warming just to see them all
together. Their first concern was how eight-year-old Danny
would react to a sister. They needn’t have worried. Danny
insists she occupy the extra twin bed in his room and tags

Mr. and Mrs. at Mocambo: With the junior Sinatras tucked
in hed, Frank and his Nancy do some serious celebrating

What Turhan Bey is saying — is intended for Barbara Law-
rence. What he’s written — is a play intended for Broadway

The cosy touch: Even canvas chairs feel good to Evelyn Keyes, the star, and Mil-
ton Holmes, the producer, after strenuous work on the set of “Mr. Soft Touch”

Jack Stassem, with Gloria DeHaven at Slapsie Maxie’s, was
her last date before she reconciled with John Payne

When the Victor Matures dine out Vic knows he’s in
for a ribbing on long hair he’s wearing for “Samson”

INSIDE STUFF

after her with brotherly devotion. Mai said that the first
time she fully realized she had a daughter was when she
opened the bedroom door and stepped on a small doll that
said, “mama.” Ray drags visitors into the bedroom to look
at his little daughter asleep, her blonde braid spread out
on the pillow. Her ways delight and enchant him.

Rumors: They grow and grow, those rumors about the
marriages of the Vic Matures and the Dan Daileys.

The Mature rumbles began shortly after their wedding,
but knowing how much in love Vic was, we attached little
seriousness to the gossip. Rather, we judged it to be a mat-
ter of temperament, for Vic is a highly unpredictable gent.
Cal hopes that the Matures soon will realize how much
they mean to each other and learn to make adjustments.

The Dailey rumors flew up when Dan unceremoniously
departed Hollywood without a word to his pretty wife, Liz.
The rumors expanded when Dan recently made several
night club jaunts alone and, later, frankly admitted they
have their quarrels. We remember something Dan said
to us some time ago. “I know I didn’t write often enough
to Liz when I was overseas but I was sure she would
understand.” Thinking back, we believe their trouble to be
the old one of “taking for granted” and “hoping for under-
standing.” Anyway, Cal is crazy about both of them and
would like to see them together — always.

Party News: Jack Benny has turned movie producer, he
told Cal at Cesar Romero’s gay party, and hopes you like
his first production, “The Lucky Stiff.” Like the friendly
and truly honest soul he is, Jack is as anxious and nervous
over his first production job as any novice. His wife Mary
mingled with her close chums, Mrs. William Goetz and
Claudette Colbert, whose sleek black satin, we noticed,
was in direct contrast to Mrs. Gary Cooper’s red and green
Tyrolean costume. Clifton Webb, who fretted over his
autobiography that never gets done no matter how long
he works at it, and his mother Mabel kept Cal in stitches
with their anecdotes. We suggested Clifton let Mabel
finish the book. And don’t think she couldn’t. Those “baby”
rumors grew again when Anne Baxter appeared in a long,
straight mandarin coat. John Hodiak, she told us, was
making a hospital tour. Bride and groom John Derek and
Patti Behrs received equal congratulations with Cesar’s
brother who had also taken a bride.

Double Reunion: Turhan Bey, who has been in the East
for some time, came by to drive Cal up to Kurt Kreuger’s
for dinner. It’s nice to have Kurt home after his long
European vacation. Kurt’s fantastic trek behind the
iron curtain in Germany, made without Russian permis-
sion, is a hair-raising story, as he would have met serious
trouble had he been apprehended. And despite all

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COLGATE DENTAL CREAM
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Jean Simmons, a
memorable Ophelia
to Olivier’s Hamlet,
doesn’t mind the
braid pulling when
it’s fiance Stewart
Granger. They are
playing together in
“Adam and Evelyne”

Sir Laurence Olivier
and wife Vivien
Leigh at welcome-
home party in Lon-
don on return from
Australasian tour

those rumors, he assured vis there was
no real romance in his life. But whether
or not there is a secret romance in the
life of Jane Nigh, who dropped in after
dinner, we couldn’t say. An unusually
intelligent as well as pretty girl, we
somehow think Jane is still smarting
over losing John Lindsay to Diana Lynn.
But with her looks and bright mind, Cal
predicts she’ll soon recover.

Dynamic Director: Sometimes direc-
tors overshadow their players in per-
sonality and enthusiasm. Director Pres-
ton Sturges, for instance, is the focal
point of interest on the “Beautiful Blonde
from Bashful Bend” set. The day Cal was
a visitor, Preston was bounding around
as pleased as a child with the reviews in
French newspapers of some of his older
pictures now showing there for the first
time. “Why, talkies are the greatest in-
vention of all time,” he told us. “They
represent a fraction of time held intact
and secure for any period waiting to
come to life any time we choose.” And
how right he is.

Compensation: Lydia, the well-liked
wife of the new Italian rave, Rossano
Brazzi, who may play “Valentino,” is
constantly advised by friends to lose
weight. At a party recently, Lydia looked
about at the slender, well-dressed women
crowded about her handsome husband.
Nodding toward Loretta Young, she ob-
served, “She very thin.”

“Yes, isn’t she?” agreed the host.

Next she glanced toward Claudette
Colbert. “She thin, too.”

“A beautiful figure,” said her friend.

“She thin, too," Lydia said, nodding
toward Rosalind Russell. But before the
host could answer, Mrs. Brazzi looked at
him and twinkled.

“They thin, yes. But I have Rossano.”

Harry and Betty: The day after Betty
Grable and Harry James moved into
their new home, Betty started work in
“The Beautiful Blonde from Bashful
Bend” and Harry began a long tour with
his band. With a chuckle, Betty swears
Harry planned that tour just to get out
of those moving-day blues. At any rate,
the Jameses were literally crowded out
of their old home, which they sold, and
into the roomier one they rented. With
Harry’s hundreds of records and Vicki’s
doll house and game tables overflowing
the formal living room, they decided the
time had come to expand.

Not, of course, that the Jameses used
their elegant living room for entertain-
ing. They give no large parties, occa-
sionally inviting in a few old friends for
a poker session in the den. They have
one consuming and mutual outside in-
terest— fine race horses — and this shared
interest binds them even more closely.

Betty’s children and her husband al-
ways come first. Affable and agreeable
to any studio demands, Betty explodes if
a nurse fails to follow a schedule. She
leaves off work exactly at six evei’y eve-
ning, not stopping to remove make-up,
in order to have more time with Vicki
and Jessica before their bedtime. In fact,
she is so insistent about the six o’clock
leaving, that on ( Continued on page 19)

A difference of opinion llial loads
lo a spanking good time (for the
audience!) in the film, “Silver
Lining”

Marilyn Miller (June Haver) slaps a fast
one on husband trank Carter

“Baby — you’ve — been — needing — this —
for a long — long — time!”

fade-out: Getting the upper hand seems
to have worked out in this case!

Title t/at Do&mit fit,

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Photographs by Don Ornitz

Picture yourself with

MRS. LAWRENCE H. BURCHETTE
the former Barbara Alexandra Gunn of Yonkers, N. Y.
bridal portrait painted

A lovely skin is the beginning of charm! And
you can win a smoother, softer skin with your

first cake of Camay! Do this! Give up careless
cleansing . . . begin the Camay Mild-Soap Diet.
Doctors tested Camay’s beauty promise

on scores of women. In nearly every
case their complexions improved with just
one cake of Camay! The directions
on the wrapper tell you how to be lovelier!

MR. AND MRS. BURCHETTE!

Barbara dances the highland fling to the
music of Larry’s harmonica! And Barbara
thanks Camay for her fair (and indescrib-
ably lovely) skin. "My first cake made
my skin clearer and smoother,” says she.

Both tall and active, the Burchettes are a
tough team to beat at- mixed doubles, and
Barbara’s expert at beauty as well as ten-
nis. Heed her advice. "Go on the Camay
Mild-Soap Diet for a really lovelier skin!”

THE SOAP OF BEAUTIFUL WOMEN

INSIDE

STUFF

In the arms of the law: Merle Oberon’s partner is
her attorney, popular man-about-town, Greg Bautzer

( Continued from page 16) one of her free
days, Jack Oakie, who is in the picture,
began screaming along about five o’clock,
“Who’s gonna protect us with Grable not
here ? ”

An honest, straightforward gal who
insists she’s only a song-and-dance girl
and no nonsense about it, she deserves
the bouquets we hereby toss her way.

Men May Go . . . But George Brent
goes on forever it seems. That is, if a
movie “forever ” includes a good twenty
years of popularity. But every time
George decides to give Hollywood the go-
by and sail away on his boat for a life
of leisure, some studio succeeds in luring
him back for still another sturdy Brent
performance.

George has found happiness in mar-
riage with Janet Michael, too, that more
than makes up for those marital failures
with Ruth Chatterton and Ann Sheridan.
Janet shares George’s love of boats,
horses and ranch life out in the Valley
but when George is busy on a picture,
the Brents move into a hotel suite in
Beverly Hills. Visitors are impressed
with the conversations between George
and his wife concerning blood lines,
proper breeding, etc., and when George
became involved in the making of “Mon-
tana Belle,” his recent picture, Janet
took off alone for the Eastern sale of fine
horses with her husband’s full confidence
that she would make a good buy.

Girl of the Month: Signed to a contract
by Twentieth Century-Fox at fourteen,
married to Johnny Fontaine at seven-
teen, divorced at eighteen, and dating the
field from Mickey Rooney to millionaire
Howard Hughes, Barbara Lawrence has
not only been places but is going same.
The tall blonde has assurance, a sense of
the ridiculous and a something that at-
tracts the men. She’s a man’s gal with
no feminine guile about her. She gradu-
ated two years ago from the studio

school, but felt right at home again in
her role of the athletic student in
“Mother Is a Freshman.”

Born in Carnegie, Oklahoma, Barbara
got her first job as a model while visiting
in Los Angeles and (at the age of four-
teen) stepped from that job right into
the movies. Much too slender, she con-
sumes fried chicken and mashed pota-
toes to gain weight. Her chums call her
“Bobbie” and her real passion is shoes
with high heels. She buys them by the
dozens but usually wears low heels to
cut her height. A concession to her
shorter beaus, she grins. She’ll get along
all right. And maybe her studio doesn’t
know it!

The Flynn Saga: Metro-Goldwyn-
Mayer Studio executives mentally wrung
their hands when Errol Flynn took off,
for only heaven knew where. Errol had
signed to play in “The Forsyte Saga”
with Greer Garson at that studio and,
with only a month from starting date,
had decided to trek to Paris — or maybe
to Germany or Jamaica. He wasn’t sure.

Cal went up to see his friend Flynn
the evening he left and as usual the actor
was seemingly calm in a sea of confusion
— all of his own creation, we may add.
Only the day before he had discovered
his passport had not been renewed in
the specified time and a secretary was
trying to fill out a French questionnaire,
the servants had not been given their
notice and his doctor was telephoning
last-minute precautions after Errol’s re-
cent operation. Errol, who finally decided
to go to Havana was detained in New
York for several days. He had a shin kick-
ing incident with a Manhattan gendarme,
but after he paid a $50 fine and apologized
in the most gentlemanly manner to the
officer involved, he was permitted to take
off for Cuba to inspect some property and
pick up his yacht. Nora decided to visit in
Boston with Errol’s aunt rather than
accompany her ever-roaming husband.

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For Complete Casts of Current Pictures See Page 26.

For Best Pictures of the Month and Best Performances See Page 25.
For Brief Reviews of Current Pictures See Page 4.

Past and present meet in this tale of two romances,
with Farley Granger, Evelyn Keyes, the modern lovers

BY ELSA

Cupid hits an air pocket in this air-borne romance
starring Jimmy Stewart, Joan Fontaine, Eddie Albert

^ (F) Enchantment
(Samuel Goldwyn)

DON'T bargain for happiness. That’s the sound
advice David Niven gives to his visiting Amer-
ican niece, Evelyn Keyes, when she almost lets RAF
officer Farley Granger slip out of her life. A lonely
old man by then, Niven knows whereof he speaks,
for, years ago, he made a mistake that cost him the
love of the only woman who ever meant anything
to him.

As played by Teresa Wright, she’s truly enchant-
ing— the sort of girl to haunt a man’s lavender-
tinted dreams. The two romances, past and present,
are deftly intertwined with skillful performances all
around. Keyes and Granger are oh-so-attractive
and Wright is just out of this world, making you
wonder why the intervals between her pictures are
so long. Jayne Meadows, Leo G. Carroll and little
Gigi Perreau stand out among the supporting
players.

Moving at a leisurely pace, “Enchantment” is
steeped in sentiment and imbued with a quiet
charm.

Your Reviewer Says: A bitter-sweet romance.

^ (F) You Gotta Stay Happy
(Universal-International )

IjlNGAGINGLY giddy is this romantic comedy
j teaming Joan Fontaine and Jimmy Stewart.
Joan and Jimmy go all out to give you a good time
and Eddie Albert — a happy-go-lucky character who
takes life as he finds it — snags his share of laughs,
too.

Stewart is a down-to-earth chap, struggling to
keep his airline company aloft while Joan is an
heiress as spoiled as she’s pretty. Her uncle, Roland
Young, urges her to marry Willard Parker, so cor-
rect he bores her stiff. Joan finally consents, only
to flee from him on their wedding night. Because
she has a way with her, she talks Jimmy into flying
her to California along with a mooney young honey-
moon couple, a conscience-stricken crook carrying
a bagful of money, and freight consisting of a
coffin complete with corpse, also an extra lively
chimpanzee who smokes cigars and takes a violent
fancy to Joan.

All told, here’s a movie brimming over with won-
derful nonsense.

Your Reviewer Says: Joan and Jimmy go skylarking.

^ (F) High Fury (Peak-UA) '

TOLD against the picturesque background o£ the Swiss Alps, this thrilling
human-interest tale hits dramatic heights. There are breathtaking scenes of
mountain climbing that will leave you limp.

Madeleine Carroll is splendid as Magda whose inn, during World War II,
provides a welcome haven for French orphan Michael McKeag. Her ne’er-
do-well husband, Michael Rennie, resenting the strong attachment between
them, refuses his wife’s plea that they adopt the lad. Village doctor Ian Keith
is full of understanding but loathe to interfere. Comes the day when the
refugee children in the town entrain for their native France — a joyful prospect
for all except young Michael, whose future is blank. How he takes matters
into his own hands and how his action affects the lives of Magda, her husband,
and her doctor-friend make for a heart-warming, unusual picture.

Your Reviewer Says: A deeply moving drama.

Love hits the trail out West, with Anne Baxter and
Gregory Peck exchanging bullets instead of bouquets

^ Good I'V'Very good i^FVOustandiiig
F — For the whole family A — For adults

There’s magic and a modern message in fact and fable
film with Dean Stockwell, Pat O’Brien, David Clarke

^ (F) Yellow Sky
(Twentieth Century-Fox)

ROB ABLY it’s an old Western custom that has
Gregory Peck and Anne Baxter saying it with
bullets, not flowers, in this exciting action drama
charged with violence all the way.

More dead than alive, six outlaws, led by Peck,
reach a ghost town after robbing a bank and cross-
ing the sun-baked Arizona desert. There’s smirking
Richard Widmark, tough old-timer Charles Kemper,
leering John Russell and henchmen Henry Morgan
and Robert Arthur. Confederates in crime but
scarcely comrades, they would plug each other at
the drop of a hat. When they learn that Anne, a
gun-totin’ little wildcat, and her grandpa, James
Barton, have gold cached away in the hills, there’s
a mad scramble for it.

Peck is as brutal and greedy as the rest of them,
but once he makes a bargain, he sticks to it. Wid-
mark is slick as ever and Barton is a lovable old
codger. As for Anne, she’s called upon to take a
terrific trouncing from these varmints but, golly,
she can dish it out, too.

Your Reviewer Says: How rugged can they get?

KirV (jr) The Boy with Green Hair
(RKO)

REMEMBER the war orphans, all over the world,
, and don’t let it happen again. That’s the point
subtly stressed here, without preaching or resorting
to sledge hammer tactics.

Dean Stockwell is such a child — an American lad
whose parents were war casualties. Thereafter, he
shuttles from one relative to another, at last finding
refuge with kindly Pat O’Brien, a singing waiter
with wondrous tales for a growing youngster. Then,
one day, Dean’s hair suddenly turns grass green, a
phenomenon that sets him apart from everyone else.
Encouraged by O’Brien, the unhappy boy becomes
convinced that his attention-attracting hair has been
given to him for a purpose. There’s great pathos —
and humor, too — in the situation, along with a plea
for peace and tolerance. But whether you interpret
this as a film fraught with social significance or
merely an imaginative fable, you’ll agree it is ’way
off the beaten track.

O'Brien and young Stockwell make a grand pair;
Robert Ryan is a sympathetic psychiatrist, Barbara
Hale a pleasant teacher.

Your Reviewer Says: Full of movie magic.

(F) So Dear to My Heart (Disney-RKO)

QUESTION: When is a black sheep not a black sheep? Answer: When a little
boy takes him to his heart and grooms him for a Blue Ribbon Award at the
County Fair. The idea seems silly to everyone except Bobby Driscoll and
Luana Patten. Bobby’s granny, Beulah Bondi, whose tongue is as tart as her
heart is soft, sees trouble ahead when Bobby adopts the newborn lamb as a pet.
Sure enough, the spirited critter causes plenty of damage about the place and,
more than once, Bobby faces the prospect of losing him.

A tender tribute to childhood days, this barnyard fable combines animation
and live action. Several songs point up the Technicolor-treated story with two
of them— “It’s Watcha Do with Whatcha Got” and “Stick-To-It-Ivity” stand-
ing out from the rest. Bobby and Beulah Bondi are excellent; Burl Ives is
wonderful, too, as the guitar-playing village blacksmith.

Your Reviewer Says: Chalk up another Disney hit.

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P'V (F) That Wonderful Urge
(Twentieth Century-Fox)

HERE’S a comedy as bubbly as a cham-
pagne cocktail. Reporter Ty Power
has written a series of articles about
heiress Gene Tierney that makes her fur-
ious. Ty doesn’t reveal his true identity
when he meets her at Sun Valley in the
company of Reginald Gardner, her titled
suitor. However, the truth about Ty
finally leaks out and Gene decides it’s his
turn for some putrid publicity. So she
informs the press of her “marriage” to Ty
on whom she has supposedly settled a
million bucks. This complicates his life
no end, especially with his girl, Arleen
Whelan, who has first claim on him. Ty’s
loud denials only brand him as an all-
American heel and it takes Judge Gene
Lockhart to untangle the scrambled
situation.

Maybe all this makes more nonsense
than sense but you’ll have a hilarious time.

Your Reviewer Says: Fun at its frothiest.

A A (F) Fighter Squadron
(Warners)

MEET the men of the Air Corps — as fine
a bunch of boys as ever fought in any
war. There’s Major Edmond O’Brien, dare-
devil extraordinary; Captain Robert Stack,
torn between loyalty to his squadron in
England, and longing for his girl back
home; Colonel John Rodney, popular with
his men; General Henry Hull, a square-
shooter; handsome Captain Walter Reed,
and fun-loving Sergeant Tom D’Andrea.
All contribute pithy performances to a
movie that is a stirring salute to the
United States Air Force.

A veteran of the China Flying Tigers,
O’Brien rolls up a sensational record for
blitzing enemy planes out of the blue.
However, his tactics are disapproved by
his superior officer, Sheppard Strudwick,
who is a great stickler for rules. What
with being bombed up above and tripped
by red tape below, Ed has his hands full.
The action-packed story moves along
briskly, punctuated by crisp dialogue.

Your Reviewer Says: Ace airplane epic.

A A (F) Every Girl Should Be
Married (RKO)

AfOBODY can say that Betsy Drake isn’t
I persistent once she makes up her mind
that Cary Grant is her man.

A baby doctor who clings to his bach-
elorhood tenaciously, Cary is amused, then
alarmed, at Betsy’s strategy to lead him to
the altar. Full of feminine wiles, she pre-
tends her playboy-employer, Franchot
Tone, is more than casually interested in
her. Tone is only too willing to cooperate
but Betsy relentlessly renews her efforts
to win Cary, putting on a campaign that
is nothing short of terrifying. Even if it
works here, take our word for it: This is
how not to land a husband.

Veteran comedian Grant gallantly per-
mits engaging newcomer Betsy Drake to
steal the show. Diana Lynn is a friend
worth having and Eddie Albert pops up
in the last scene.

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Your Reviewer Says: The way of a maid
with a man.

AA (F) When My Baby Smiles at
Me (Twentieth Century-Fox)

THEY are back together again — curva-
ceous Betty Grable and dancing Dan
Dailey — in a fast-’n’-flashy musical.

It’s the familiar story of the struggling
song-and-dance team who separate when
a role in a Broadway show comes along
for one of them, then eat their hearts out
for each other. You’ll follow their joys

and heartaches avidly, applauding their
snappy act, sighing with Betty when her
man does her wrong, and generally having
a glad-sad time of it.

Jack Oakie, June Havoc and James
Gleason maul the English language; Rich-
ard Arlen pleases as Betty’s admirer and
Jean Wallace (Mrs. Franchot Tone) is a
bold hussy.

Your Reviewer Says: You’ll love it.

AA (F) The Man from Colorado
(Columbia)

THERE is nothing wrong with Glenn
Ford that a good psychiatrist couldn’t
cure but, back in 1865, they never heard
of such a thing. So Glenn gets himself in a
mess of trouble — all because of an uncon-
trollable urge to kill, contracted in the
Civil War. His close friend William
Holden tries his best to understand and
help him. That isn’t easy, for both men are
in love with Ellen Drew.

Ford’s role in this gripping outdoor
drama is not a sympathetic one but he
turns in a credible job. Holden cuts a
forthright figure, Ellen a fetching one.
Jerome Courtland rates attention.

Your Reviewer Says: Plenty of fireworks.

A (F) Whiplash (Warners)

BLUNT, outspoken Dane Clark puts up a
game fight not only to win the middle-
weight championship, but statuesque
night club singer Alexis Smith as well.
Trouble is, she’s very much married to
crippled fight promoter Zachary Scott, a
calculating brute. His cruelty drives her
to distraction and her doctor-brother,
Jeffrey Lynn, to drink. Between Scott
cracking the whip over her and Clark
misunderstanding her motives, Alexis is a
gal much to be pitied.

Dane’s portrayal of a chap who can take
a licking, as well as give it, is all to the
good. Alexis suffers with ladylike re-
straint while Jeffrey scores as an alcoholic.
Eve Arden, S. Z. Sakall and Alan Hale
represent the lighter side of a rather grim,
hard-hitting melodrama.

Your Reviewer Says: It leaves a sting.

A (F) Let’s Live a Little
(Eagle Lion)

ICTING on the premise that all adver-
/I tising executives are wacky and Robert
Cummings is wackier than most, this pro-
vides Bob with a real slapstick role.
Such a capable comedian shouldn’t have to
resort to slinging cold cream at Anna Sten
for laughs. His nerves are so frazzled, he
has to consult a psychiatrist . . . and who
do you suppose said psychiatrist turns out
to be? Hedy Lamarr!

That clever little lady sets about
curing Bob of his woman-hating phobia
only to have him fall for her — but hard.

No use looking for logic or subtlety here;
simply accept this as a moderately amus-
ing movie and let it go at that.

Your Reviewer Says: You’ll laugh.

A (A) My Own True Love
(Paramount)

FATHER and son in love with the same
girl. That’s the strange situation con-
fronting Melvyn Douglas, Phyllis Calvert
and Philip Friend in postwar London. It’s
Melvyn’s daughter, Wanda Hendrix, who
fixes up a date for her dad, to take his
mind off the disappearance of his flier son
in World War II. The romance is off to a
good start when the boy suddenly turns
up, minus a leg and all his illusions, and
makes a play for Phyllis.

Phyllis combines (Continued on page 24)

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( Continued from page 22) brains and
beauty effectively. Douglas delivers a deft
performance and Friend is convincing as
his bitter son. Wanda handles her small
role well. Binnie Barnes and Arthur Shields
complete a capable cast.

Your Reviewer Says: A close call for Cupid.

'S (F) The Adventures of Don
Juan (Warners)

IN A season of extra -fancy swordplay,
Errol Flynn comes along as the dashing,
balcony-climbing Don Juan.

Errol’s adventures are amusing enough
when treated in a tongue-in-cheek man-
ner; it’s when the story takes a serious
turn that it becomes just another costume
picture. Viveca Lindfors is very grand and
dignified as the Queen of Spain. For her
sweet sake, Don Juan almost reforms but,
in the final fadeout, he’s back in business.
And here’s a surprise! The senorita he pur-
sues is none other than Nora Flynn!

Robert Douglas is the black villain!
Romney Brent a royal weakling, Jerry
Austin a grotesque court jester and Alan
Hale, Don Juan’s staunch servant-comrade

Your Reviewer Says: Saga of Spain’s Great
Lover.

^ (F) The Countess of Monte Cristo
(Universal-International)

1NYONE who can skate as divinely as
Sonja Henie is liable to get away with a
lot, including larceny. With Olga San Juan’s
help, Sonja manages to do just that.

A couple of Norwegian barmaids with a
taste for luxury, Sonja and Olga take
themselves off on a holiday to a swanky
winter resort with Sonja posing as a
countess and Olga as her maid. Mistak-
ing Lieutenant Michael Kirby for the
hotel doorman, she treats him like one of
the help. It doesn’t take him long to prove
he is just the chap to give a gal like Sonja
a whirl with or without skates.

It’s primarily the skating sequences that
brighten this bit of frivolous fluff.

Your Reviewer Says: Sonja skates on.

V (F) Belle Starr’s Daughter
(Twentieth Century-Fox)

i TERRIFIC change has come over Rod |
Cameron. In “River Lady” he was a
fine, upstanding fellow; this time he’s
plumb bad. It takes a man like marshal
George Montgomery to out-ride, out-
shoot and out-fight him. However, it’s j
a little tougher for Montgomery to con-
vince Ruth Roman that she’s rooting for j
the wrong side.

Cameron turns in the most convincing
performance of the trio, substantially aided
by William Phipps as his pal, Wallace
Ford as a frightened cowpoke, Charles
Kemper as Montgomery’s chief deputy.

Your Reviewer Says: Bullets and brawls.

v' (F) Three Godfathers (M-G-M)

THREE bold bandits, tripped by a pair
of baby bootees, furnish the theme for
a great big Technicolor Western stressing
sentiment more than action.

John Wayne, Pedro Armendariz and
Harry Carey Jr. hold up a bank, then run
for their lives, pursued by marshal Ward
Bond. When the trio comes across a dying
woman and her newborn babe, they prom-
ise to become the infant’s godfathers.

Both photography and acting over-
shadow the story. The standout scene is a
desert sandstorm so real you can almost
feel the hot sand cutting your face.

Your Reviewer Says: A little action, a lot
of sentiment.

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(F) Nighttime in Nevada
(Republic)

COWBOYS, crooks and cattle in Trucolor
make this a dandy little item for the
Saturday matinee trade. Their favorite,
Roy Rogers, is cast as a cattleman while
Grant Withers is the meanest scoundrel
in all Nevada and Adele Mara is the girl
whose father Withers murdered, years
before, so he could grab a mining claim.

How Rogers uncovers the early crime
and traps Withers is told to the tune of
clattering hoofs, blazing guns and the
hummin’ strummin’ Sons of the Pioneers.

Your Reviewer Says: Roy’s right in stride.

(F) The Lucky Stiff
(Amusement Enterprises — UA)

THIS semi-serious meller, full of crooks
and corpses, has Dorothy Lamour play-
ing a sultry singer involved in the murder
af a night club owner. Attorney Brian Don-
llevy finds Dottie so fascinating that, be-
fore he knows it, he’s involved, too, and
so is his loyal secretary, Claire Trevor.

Exonerated by the governor in the nick
of time, Dottie is hidden by Brian in the
home of an eccentric client, Marjorie
Rambeau. Everyone, including press and
police, think Dottie has warbled her last
torch song, which gives her a chance to
play at being a ghost. The idea is, if she
haunts enough people, they may finally
discover the real killer. Irene Hervey,
Billy Vine and Robert Armstrong round
out the unlucky cast.

Your Reviewer Says: Bottom of the barrel.

f (F) The Kissing Bandit (M-G-M)

«LD California furnishes a romantic back-
ground for an elaborate Technicolor
musical with Frank Sinatra and Kathryn
Grayson serenading each other sweetly.

Frankie’s role is that of a Caspar Mil-
tquetoast character, trying to emulate the
notorious kissing bandit who was his
father. Egged on by his dad’s old crony,
J. Carroll Naish, Francis holds up a
coach with Katie in it. But living up to
his old man’s reputation isn’t easy for a
timid soul like Frankie.

Sinatra is at his best, of course, when he
is singing; Grayson is a lovely eye-and-
earful while Naish — the old pirate! — steals
most of the laughs. There’s some spirited
1 dancing by Sono Osato as well as a special-
ty number brilliantly executed by Ricardo
^ Montalban, Ann Miller and Cyd Charisse.

Your Reviewer Says: Fiesta with Frankie.

Best Pictures of the Month

The Boy with Green Hair
Fighter Squadron
High Fury
So Dear to My Heart

Best Performances of the Month

r Dean Stockwell in

r "The Boy with Green Hair”

t, Teresa Wright in " Enchantment ”
Betsy Drake in

"Every Girl Should Be Married”
j Edmond O’Brien in "Fighter Squadron”
l Madeleine Carroll in "High Fury”
Tyrone Power, Gene Tierney in
"That Wonderful Urge”

Dane Clark in "Whiplash”
it Gregory Peck, Anne Baxter, James Barton
in "Yellow Sky”

Joan Fontaine, Jimmy Stewart, Eddie Albert
in "You Gotta Stay Happy”

safer for charm
safer for skin

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Casts of Current Pictures

ADVENTURES OF DON JUAN— Warners: Don
Juan, Errol Flynn; Queen Margaret, Viveca Lind-
fors; Duke de Lorca, Robert Douglas; Leporello,
Alan Hale; King Philip III, Romney Brent; Dona
Elena, Ann Rutherford; Count De Polan, Robert
Warwick; Don Sebastian, Jerry Austin; Don Rod-
rigo, Douglas Kennedy; Donna Carlotta, Jeanne Shep-
herd; Catherine, Mary Stuart; Lady Diana, Helen
Westcott; Don Serafino, Fortunio Bonanova; Lord
Chalmers, Aubrey Mather; Duenna, Una O’Connor;
Captain Alvarez, Raymond Burr; Catherine’s Hus-
band, Tim Huntley; Innkeeper, David Leonard; Don
De Cordoba, Leon Belasco.

BELLE STARR’S DAUGHTER— 20th Century-
Fox: Marshal Tom Jackson, George Montgomery;
Bob Yanntis, Rod Cameron; Rose of Cimarron, Ruth
Roman; Lafe Bailey, Wallace Ford; Gaffer, Charles
Kemper; Yjtma, William Phipps; Mrs. Allen, Edith
King; Broyic, Jack Lambert; Slim, Fred Libby;
Belle Starr, Isabel Jewell; Doc Benson, J. Farrell
MacDonald; Spanish George, Cris-Pin Martin; Jim
Davis, Kenneth MacDonald; Loftus, William Perrott;
Chris, William Ruhl; Old Man. Frank Darien; Jed
Purdy, Larry Johns; Drunk Citizen, Harry Harvey;
Cherokee Joe, Charles Stevens; Clearwarter Doctor,
Paul E. Burns; Marshal Evans, Lane Chandler;
Bennie, Mary Foran; Old Marshal, Henry Hull;
Kiowa Marshal, Bill Kennedy; Kiowa Posseman, John
Cason.

BOY WITH GREEN HAIR, THE — RKO: Gramp,
Pat O’Brien; Dr. Evans, Robert Ryan; Miss Brand,
Barbara Hale; Peter, Dean Stockwell; Michael,
Richard Lyon; “The King,’’ Walter Catlett; Dr.
Knudson, Samuel S. Hinds; Mr. Davis, Regis
Toomey; Mr. Piper, Charles Meredith; Barber, David
Clarke; Red, Billy Sheffield; Danny, John Calkins;
Timmy, Teddy Infuhr; Joey, Dwayne Hickman;
Peggy, Eilene Janssen; Classmate, Curtis Jackson;
Mr. Hammond, Charles Arnt.

COUNTESS OF MONTE CRISTO, THE — U-I :
Karen, Sonja Henie; Jenny, Olga San Juan; Peg
Manning, Dorothy Hart; Paul Von Cram, Michael
Kirby; Managing Director, Arthur Treacher; Count
Hotgar, Hugh French; Mr. Hansen, Tansom Sher-
man; Skating Specialty, Freddie Trenkler; Freddie,
John James; Assistant Director, Arthur O’Connell;
Joe, Joseph Crehan; Charlie, Ray Teal.

ENCHANTMENT — Goldwyn: General Sir Roland
Dane, David Niven; Lark Ingoldsby, Teresa Wright;
Grizel Dane, Evelyn Keyes; Pilot Officer Pax Master-
son, Farley Granger; Selina Dane, Jayne Meadows;
Proutie, Leo G. Carroll; Pelham Dane, Philip Friend;
Marchese Del Laudi, Shepperd Strudwick; General
Fitzgerald, Henry Stephenson; The Eye, Colin Keith-
Johnston; Lark as a Child, Gigi Perreau; Rollo as a
Child, Peter Miles; Selina as a Child, Sherlee Collier;
Pelham as a Child, Warwick Gregson; Mrs. Sampson,
Marjorie Rhodes; Uncle Bunny, Edmond Breon; Wil-
loughby, Gerald Oliver Smith; Jeweler, Melville
Cooper; Lance Corporal, Dennis McCarthy; RAF
Officer, Gaylord Pendleton; Air Raid Warden, Mat-
thew Boulton; Corporal, Robin Hughes; Narrator,
William Johnstone.

EVERY GIRL SHOULD BE MARRIED — RKO :
Dr. Madison Brown, Cary Grant; Roger Sanford,
Franchot Tone; Julie Hudson, Diana Lynn; Anabel
Sims, Betsy Drake; Mr. Spitzer, Alan Mowbray;
Mary Nolan, Elisabeth Risdon; Sam McNutt, Richard
Gaines; Gogarty, Harry Hayden; Soda Clerk, Chick
Chandler; Violinist, Leon Belasco; Pierre, Fred Ess-
ler; Saleslady, Anna Q. Nilsson. *

FIGHTER SQUADRON — Warners: Major Ed Har-
din, Edmond O’Brien; Capt. Stu Hamilton, Robert
Stack; Col. Bill Brickley, . John Rodney; Sergeant
Dolan, Tom D’ Andrea; Brig. Gen. Mike McCready,
Henry Hull; “Tennessee’* , James Holden; Capt. Duke
Chappell, Walter Reed; Brig. Gen. M. Gilbert, Shep-
perd Strudwick; Major Sanford, Arthur Space;
Shorty, Jack Larson; Wilbur, William McLean;
Jacobs, Mickey McCardle.

HIGH FURY — Peak-UA: Magda, Madeleine Car-
roll; Anton, Ian Hunter; Rudolph, Michael Rennie;
Louise, Anne Marie Blanc; Roger, Michael McKeag;
Joseph, Arnold Marie; Benno, Willi Fueter; Fred-
erick, Max Haufler; Maria, Margarete Hoff; Presi-
dent, Gerard Kempinski.

KISSING BANDIT , THE — M-G-M: Ricardo, Frank
Sinatra; Teresa, Kathryn Grayson; Chico, J. Carrol
Naish; Isabella, Mildred Natwick; Don Jose, Mikhail
Rasumny; General Torro, Billy Gilbert; Bianca, Sono
Osato; Colonel Gomez, Clinton Sundberg; Count Bel-
monte, Carleton G. Young; Juanita, Edna Skinner;
Mexican Guitarist,- Vincente _ Gomez ; Dance. Specialty,
Ricardo Montalban, Ann Miller, Cyd Charisse.

LET’S LIVE A LITTLE— Eagle Lion: Dr. J. O.
Loring, Hedy Lamarr; Duke Crawford, Robert Cum-
mings; Michele Bennett, Anna Sten; Dr. Richard
Field, Robert S.hayne; Miss Adams, Mary Treen;
James Montgomery, Harry Antrim.

LUCKY STIFF, THE — Benny-LTA: Anna Marie St.
Claire, Dorothy Lamour; John J. Malone, Brian
Donlevy; Marguerite Seaton, Claire Trevor; Mrs.
Childers, Irene Hervey; Hattie Hatfield, Marjorie
Rambeau; Von Flanagan, Robert Armstrong; Joe
Di Angelo, Billy Vine; Eddie Britt, Warner Ander-
son; Millie Dale, Virginia Patton; District Attorney
Logan, Richard Gaines; Tony, Joe Sawyer; Louie

Perez, Larry Blake; MacDougal, Bob Hopkins; Bern-
stein, Sidney Miller; Mr. Childers, Charles Mere-
dith; Rico Di Angelo, Jimmy Ames.

MAN FROM COLORADO, THE— Columbia : Colo-
nel Owen Devereaux , Glenn Ford; Captain Del
Stewart, William Holden; Caroline Emmett, Ellen
Drew; Big Ed Carter, Ray Collins; Doc Merriam,
Edgar Buchanan; Johnny Howard, Jerome Courtland;
Set geant Jericho Howard., James Millican; Nagel, Jim
Ba’nnon; York, Wm. “Bill” Phillips; Easy Jarrett,
Denver Pyle; Dickson, James Bush; Morris, Mikel
Conrad; Mutton McGuire, David Clarke; Jack Raw-
son, Ian MacDonald; Charlie Trumbull, Clarence
Chase; Roger MacDonald, Stanley Andrews; Powers,
Myron Healey; Parry, Craig Reynolds; Rebel Major,
David York.

MY OWN TRUE LOVE— Paramount: Joan Clews,
Phyllis Calvert; Clive Heath, Melvyn Douglas; Sheila
Heath, Wanda Hendrix; Michael Heath, Philip
Friend; Geraldine , Binnie Barnes; Kittredge , Alan
Napier; Iverson, Arthur Shields; Mrs. Peach, Phyllis
Morris; A Corporal, Richard Webb.

NIGHTTIME IN NEVADA— Republic: Roy Rog-
ers, Roy Rogers; Joan Andrews, Adele Mara; Cookie
Bullfincher, Andy Devine; Ran Farrell, Grant With-
ers; Toni Bordon, Marie Harmon; Casey, Joseph
Crehan; Jason Howley, George Carleton; Mort Oak-
ley, Holly Bane; First Tramp, Steve Darrell; Jim
Andrews, Jim Nolan; Second Tramp, Hank Patter-
son; Bob Nolan; The Sons of the Pioneers.

SO DEAR TO MY HEART — Disney : Burl Ives;
Beulah Bondi; Harry Carey; Bobby Driscoll; Luana
Patten; Raymond Bond; Walter Soderling; Matt
Willis; Spelman B. Collins.

THAT WONDERFUL URGE — 20th Century-Fox:
Thomas Jefferson Tyler, Tyrone Power; Sara, Gene
Tierney; Andre, Reginald Gardiner; fffssica, Arleen
Whelan; Aunt Cornelia Farley, Lucile Whtson; The
Judge, Gene Lockhart; Duffy, Lloyd Gough; Attorney
Ketchell, Porter Hall; Mr. Whitson, Richard Gaines;
Attorney Rice, Taylor Holmes; Justice of the Peace,
Chill Wills; Apartment House Keeper, Hope Emer-
son; Findlay, Frank Ferguson; Mr. Bissell, Charles
Arnt; Barret, Francis Pierlot; Workmen, Mickey
Simpson, Robert Foulke; Joe, Charles Woolf; Waiter,
Edwin Randolph; Process Server John Butler; Gro-
cery Clerk, Norman Leavitt; Ski Patrolman, Joe
Haworth; Passerby, Hal K. Dawson 'Western Union
Boy, Norman Phillips; Mrs. Wnitson, Gertrude
Michael; Mrs. Vickers, Isabel Randolph-; Butler, John
Davidson; Mr. Vickers, Forbes Murray; Fisher,
Perry Ivins; Conovan, A1 Bridge; Special Policeman,
Bob Williams; Bailiff, David Thursby; Counterman,
Harry Tyler; Drunk, Percy Helton; Mrs. Beggs,
Eula Guy; Artist, Eddie Parks; Chauffeur, Charles
Hamilton.

THREE GODFATHERS— M-G-M: Bob Sangster,
John Wayne; Pete, Pedro Armendariz; “ The Kid ”,
Harry Carey, Jr.; “Buck” Perley Sweet, Ward Bond;
Mrs. Perley Sweet, Mae Marsh; The Mother, Mil-
dred Natwick; Miss Florie, Jane Darwell; Judpe,
Guy Kibbee; Ruby Latham, Dorothy Ford; Member
of Posse, Ben Johnson; Mr. Latham, Charles Halton;
Deputy, Hank Worden; Conductor, Jack Pennick;
Deputy, Fred Libby; Posse Man #5, Michael Dugan;
Posse Member, Don Summers.

WHEN MY BABY SMILES AT ME— 2 0th Cen-
tury-Fox: Bonny, Betty Grable; Skid, Dan Dailey;
Bozo, Jack Oakie; Gussie, June Haver; Harvey,
Richard Arlen; Lefty, James Gleason; Bubbles, Va-
nita Wade; Specialty Dancer, Kenny Williams; Syl-
via Marco, Jean Wallace; Woman in Box, Patti
Behrs; Sam Harris, Robert Emmett Keane; Midget,
Jerry Maren; Comic, George “Bettlepuss” Lewis;
Valet, Tom Stevenson; Process Server , Sam Bernard;
Stage Manager, Mauritz Hugo; Vendor, Frank Scan-
ned; Painters, Tim Graham, Dave Morris.

WHIPLASH — Warners: Michael Gordon, Dane
Clark; Laurie Durant, Alexis Smith; Rex Durant,
Zachary Scott; Chris, Eve Arden; Dr. Arnold Vin-
cent, Jeffrey Lynn; Sam, S. Z. Sakall; Terrance
O’Leary, Alan Hale; Costello, Douglas Kennedy; Tex
Sanders, Ransom Sherman; Duke Carney, Fred
Steele; Trask, Robert Lowell; Harkus, Don McGuire.

YELLOW SKY — 20th Century-Fox: Stretch, Greg-
ory Peck; Mike, Anne Baxter; Dude, Richard Wid-
mark; Bull Run, Robert Arthur; Lengthy, John Rus-
sell; Half Pint, Henry Morgan; Grandpa, James
Barton; Walrus, Charles Kemper; Jed, Robert Adler;
Lieutenant, Harry Carter; Bartender, Victor Kilian;
Drunk, Paul Hurst; Rancher, Hank Worden; Indian,
Jay Silverheels; Banker, William Gould;; Bank Teller,
Norman Leavitt; Colorado, Chief Yowlachie.

YOU GOTTA STAY HAPPY— U-I: Dee-Dee Dill-
wood, Joan Fontaine; Marvin Payne, James Stewart;
Bullets Baker, Eddie Albert; Ralph Tutzviler, Roland
Young; Henry Benson, Willard Parker; Mr. Rack-
nell, Percy Kilbride; Mr. Caslon, Porter Hall; Georgia
Goodrich, Marcy McGuire; Milton Goodrich, Arthur
Walsh; Dick Hebert, William Bakewell; Dr. Blucher.
Paul Cavanagh; Martin, Halliwell Hobbes; Jack
Samuels, Stanley Prager; Aunt Martha, Mary
Forbes; Mrs. Racknell, Edith Evanson; Barnabas,
Peter Roman; Jud Tavis, Houseley Stevenson; Bank
Watchman, Emory Parnell; Ted, Don Kohler; Neil,
pert Gonway; Night Clerk, Hal K. Dawson; Mae,
Vera Marshe; Curly, Jimmie Dodd; Eddie, Robert
R ' well.; Joe, Joe.

-G

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NAME

ADDRESS

TOWN STATE .......

cMai^ion -Hutton

Taught me a^ove Lesson

I never used to be popular.. .

'Til one lucky night I turned a page
and read: “‘Men are romantics at
heart’, says Marion Hutton. ‘They
like a girl to be so-o feminine ... to
have the softest, pampered-looking
hands.’ Marion advises: ‘Use Jergens
Lotion on your hands — I do.’ ”

Right then, I started using] ergenstoo!

Not long after I started going out! First
with Paul, then Cy, now I’ve got several
beaux. Men really do choose the girl with
the softest, loveliest hands!

See how much softer your hands can be
with today’s richer Jergens Lotion! Because
it’s a liquid, Jergens quickly furnishes the
softening moisture thirsty skin needs. Yet
never leaves that sticky feeling. Still only
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Contains generous samples of Jergens Lotion,

Powder, Face Cream and Dryad Deodorant. Send 1 ()<.* to
cover handling and postage to The Andrew Jergens Co.,
Box 6. Dept. 55-A, Cincinnati 14. Ohio.

Sorry, offer good in U.S.A. only, expires Dec. 31, 1949.

My hubby and I go to the movies often
and enjoy reading your fine articles about
movies and the stars. I especially enjoy
practicing the stars’ hair-dos and trying
to copy their clothes. Therefore, thanks so
much for good, clear, interestingly posed
pictures.

You’ve made your magazine tops in
good photography as well as tops in well-
written interesting articles.

Mrs. Alan Dunlap
Willow Village, Mich.

I’ve just seen “Key Largo” and it oc-
curred to me that this is about the fifth
picture I’ve seen when it’s been raining.
Why is it that it always seems to be
raining while a crime is being planned or
committed? The rain may help the gloomy
mood, but crimes are committed when it
isn’t raining, aren’t they?

Susan Rapaport
Detroit, Mich.

Why didn’t Richard Widmark come to
Hollywood sooner? He’s sensational.
Everything he does deserves an Academy
Award. T. „

Bonnie Cleaves

State College, Pa.

In the December issue of Photoplay in
“Riviera Revels,” Elsa Maxwell said
that she thinks Rita Hayworth has ma-
tured. Well, she certainly should be, at
her age! As for Tyrone Power and Linda
Christian, how can any of us have any
respect for either of them ever again?

Thelma Kolaks
Eureka, Mo.

Congratulations to Hollywood for dis-
covering someone like Montgomery Clift.
It’s about time they were getting someone
like him. After “Red River” we want

more of him. T T

Jeanne Lorigan

Sacramento, Cal.

Just finished “The Allyson-Powell Puz-
zle” in the December issue. After seeing
“Good News,” which featured June Ally-
son, it is hard for me to believe the marital
trouble between her and her husband. I
think she has the most beautiful person-
ality and charm on the screen.

George Cornett

Red Deer, Alberta, Canada

Doesn’t Hollywood realize they have
another Bergman in the making? I’m
speaking of that wonderful actress Valli.
She’s been in Hollywood for quite some
time and we hear or see very little about
her. Who can surpass her acting in “The
Miracle of the Bells” and “The Paradine

Bill Recuber
Philadelphia, Pa.

It’s been days since I saw “The Snake
Pit” but it’s still so vivid in my mind. I
sat through it twice because I felt that I
didn’t quite catch everything the first
time — there was so much to see. I’ve
always admired Olivia de Havilland but

this really proves what a truly great
actress she is.

Most people today don’t realize half
what they should about insanity. They
think it’s always hopeless and incurable
and they mark a person who has ever
been in an asylum and believe that their
children will inherit the disease. It took
one of the greatest influences in America
to try and make people understand more
about it and, therefore, realize that these
things are not always true.

James A. Beaudoin
Chicago, 111.

Casting:

The book “Proud Destiny” would make
a very good movie with Lana Turner in
the role of Marie Antoinette. If Holly-
wood made more historical movies I think
it would raise the standards of motion
pictures.

Lin Kennedy
Charleston, S. C.

I say “heck” with all these glamour
guys and gals ! Let’s see more of these
interesting men such as Edmund Gwenn,
Cecil Kellaway and Barry Fitzgerald.
They’re wonderful !

Jay Morehead
Albemarle, N. C.

I think it’s about time the producers
gave Dan Dailey a break and put him in
some more good movies like “Mother
Wore Tights.” His dancing is far greater
than Gene Kelly’s.

Edith Faye Wilson

Parkersburg, West Va.

Question Box:

A few days ago I saw “Ruthless” and I
still haven’t settled it in my mind as to
whether or not Martha and Malory,
played by Diana Lynn, were really the
same person in the picture.

Betty Skidmore
Denver, Col.

{No, they were not the same person.)

I would like to know if Robert Stack is
American or English. Has he ever been
married?

Beatrice Martini
Laredo, Tex.

(Robert Stack was born in Los An-
geles. He has never been married.)

My brother and I have been arguing
about how old Jane Powell and Elizabeth
Taylor really are and I would appreciate
knowing.

Rose Colli

West Roxbury, Mass.

( Jane Powell was born in 1929 and
Elisabeth Taylor in 1932.)

Could you please tell me who played
the part of Matt Davis in “Fighting
Father Dunne”? To which studio is he
under contract?

Carol Sharp
Inglewood, Cal.

( Darryl Hickman played Matt Davis.
He’s making a picture for RKO but is not
under contract.)

—

Address letters to this department to
Readers Inc., Photoplay, 205 East 42nd
Street, New York 17, N. V. However,
our space is limited. We cannot there-
fore promise to publish, return or reply
to all letters received.

Address

Zone

State

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CENTURY-

LUCILE WATSON • GENE LOCKHART • LLOYD GOUGH
PORTER HALL • RICHARD GAINES • TAYLOR HOLMES • CHILL WILLS

Screen Play by Jay Dratler • From a Story by Williom R. Llpmon and Frederick Stephani

Produced by

Directed by

ONCE again you, for whom movies
are made, have voted for your fa-
vorite stars and your favorite pic-
tures. Once again, too, Hollywood
awaits your verdict, the result of
Photoplay’s nation-wide, year-long
balloting.

On February 14, at Photoplay’s an-
nual Gold Medal dinner — a social event
in the film colony these days — Gold
Medals will be presented to the studio
producer, director and authors of the
picture you liked best while the cast
and staff of this favorite picture will re-
ceive gold medallions. Gold Medals also
will go to the man and woman you have
voted the most popular stars of the
year. And to the ten most popular
pictures of the year and the five most
popular men stars and the five most
popular women stars of the year, scrolls
will be presented.

Last year, you will remember, it was
“The Jolson Story” that headed the list
of favorite pictures and Bing Crosby
and Ingrid Bergman who won Photo-
play’s Gold Medals. Bing, in fact, has
won this medal for the last four years.
Ingrid, on the other hand, has been
the winner for the last two years. Dur-
ing the previous two years it was Greer
Garson who was voted most popular.

The March Photoplay, which will
reach your newsstand a few days before
the Gold Medal dinner, will report the
winning stars and pictures of 1948 and
those stars who, during this past year,
have increased most in popularity.

Look for the March Photoplay on
your newsstand February 11.

When Jennifer and David (with son, Jeffrey) marry, Louella is willing to bet it will be a foreign affair

X AM as dead certain that Jennifer Jones will be married to the man she
loves, David 0. Selznick, and that they will be honeymooning in Europe by
mid-January, as I am that my new Schiaparelli gown is no bargain sale house
dress. I am also certain that the ceremony will be performed in Paris or
London and not in the United States.

But when I put the question direct to the hazel-eyed girl in the smart Dior
blouse and skirt having coffee across the table from me, the answer came
softly:

“I don’t know, Louella. I honestly don’t know. But when I do, I promise
I’ll tell you.”

If I had spent my good time with any other actress without getting a more
definite answer to a question intriguing all Hollywood I might have been

BY LOUELLA 0. PARSONS

Hollywood’s dean of reporters
explains why she is sure that
Jennifer Jones, a lady in love
for seven long years, is now
ready to sign a new contract
with David Selznick — for life

thoroughly irritated. But, strangely enough for Parsons, the-get-the-story-
out-of-’em-if-it-takes-all-night-gal, I was not.

The unspoken things I sense and know about this romance make me realize
that Jennifer Jones could no more come out and tell me she is planning to
marry her boss and mentor than a lady of royal court would think of
announcing marriage plans to a King or a Prince of the realm.

If ever a woman idealized and idolized a man, Jennifer does David. She
believes he is a King with a capital K and I must admit she is not alone in
her high respect for him. David’s ex-father-in-law, Louis B. Mayer, has told
me that he considers David is touched with genius.

To the girl who loves him — he is a god, controlling not only her career but
her life, her laughter and even her tears. (Continued on page 74)

The woman who introduced Rita and

the Aly Khan tells the unbelievable story

behind their unbelievable romance

IT EVER was there such a romance.
If Everywhere Rita Hayworth and Prince
Aly Khan have gone, whether it was a
Hollywood night club, Mexico, Cuba or
Texas, photographers and reporters have
followed them. And the pictures and in-
terviews, always noncommittal, have been
headlined all over the world.

Little did I know what I was starting
this past summer, when I introduced my
romantic young friend, His Highness
Prince Aly Khan, to the glamorous and
then about-to-be-divorced Rita Hayworth.
I suspect Rita, too, is rather amazed at the
results.

For it is my notion that Rita, in the
beginning, intended her friendship with
Prince Aly as a come-on to intrigue Orson
Welles and get him away from Lea Pado-
vani.

That much I suspect. This much I know!
Orson arrived in Cannes right after Rita
had gone motoring through Spain with
Prince Aly. Rita, he told me, had tele-
phoned that she wanted to see him. He
would, he said, go anywhere if Rita needed
him. He feels so nicely towards Rita, re-
spects her so much. But he was angry, of
course, that he had flown all the way from
Rome, leaving ( Continued on page 110)

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PENNY

It’s their ways with their wallets that put these

Paulette Goddard might have cleaned up on
publicity but for the cleaning woman’s query

A PENNY saved — that’s news these inflation days.
And the Hollywood citizens, like citizens every-
where, can’t figure out where their high-cost-of-
living money goes.

Who are the careful stars of Hollywood? And by
careful, I mean the boys and girls who think before
they spend* and who spend a lot of time saving dollars
and dimes. And don’t think I’m being critical of them,
I’m not. Hollywood is too full of extras and bit players
who were once stars but who didn’t have sense
enough to save their salaries. And today the saving-
for-tomorrow situation is even more important. Only
a lucky few remain in the top earning brackets more
than seven years. And during that time there is a
heavy financial drain on star pocketbooks plus up to
seventy-seven per cent income tax on top earnings.
Okay, so who are the inflation beaters?

Fred MacMurray’s respect for a dollar is now a

What Peter Lawford pulled out of his
pocket put Frankie Sinatra in the pay role!

Hedy Lamarr looks helpless — but a busi-
ness deal showed she’s a sharp siren

BY SHEILAH GRAHAM

ANTICS

star savers at the head of the economy class

Hollywood legend. Fred’s manager, Boo Roos, allows
him $35.00 a week spending money — for gasoline,
cigarettes, lunches, etc. The story goes that when
Fred recently opened his billfold — nestling inside
were five weekly checks — still uncashed! When the
MacMurrays were decorating their new and beau-
tiful home, they ordered some fancy material for the
drapes. The decorator, knowing his client, brought
material to sell at $1.00 a yard. Fred had set the
budget for sixty cents a yard. He cancelled the drapes!
Neither Fred nor Lillian will ever be applying for
bed and board at the Motion Picture Actors Home
in the Valley. And that’s wonderful.

Hedy Lamarr always looks so helpless and she
talks like a simple little girl drowning in a sea of
figures — I mean the financial kind — but just show her
a bankbook or how to make and save money! In her
picture with Robert Cummings, ( Cant’d on page 108)

Errol Flynn’s health plan resulted
in putting top studio wits to work

It was Uncle Sam’s figure that put Joan
Crawford and her secretary on a diet

What Fred MacMurray does with his weekly
allowance checks keeps his billfold bulging

of a bargain basement dress, two black eyes,

a soda — and one telephone, ringing a message of hope

1 REMEMBER, when I was growing up, what a big day in my life St. Valentine’s Day was. You
remember, too, don’t you? How excited we’d be when it came to counting the Valentines we got,
guessing who sent the anonymous ones, figuring out the numbers which stood for initials and the
thrill if we got the fancy, most important one from the most important boy?

Then I was a grownup — or, at least, I thought so — and Valentine’s Day was just a youngsters’
holiday. But now, and ever since I’ve been really grown up, I’ve learned the real mean-
ing of the day of St. Valentine, the day set aside to mark thoughtfulness and love
and sentimental remembering. It’s a day almost as old as Christmas and beneath
all the joking and blushing giggling, it has a real meaning that’s kept it alive
all these years.

I wondered how many of my Hollywood friends remembered the
sentimental anniversary just as I did . . . The story of Dan
Dailey and his wife is quite a tale:

They hadn’t been married long and Dan j) I

was under contract to M-G-M.

But he wasn’t getting MJoAN • '

( Continued on DVTl'D C

page 102) I filJuIlij

Color Pictures
by Don Or nit z

- i

When Ben Cage was in the Army it wasn’t easy to get leave. Bat he wouldn’t have been a man in love if he hadn’t found
a way one St. Valentine’s Day to keep Esther Williams listening to the sound of his voice

‘a

There was a time when Dan Dailey's dancing feet dragged and the future looked hope-
less. It was then Liz sent the red and white card that was to change their lives

A golden heart worn on a bracelet holds a special mean-
ing for Mona Freeman and her husband Pat Nerney

Sentiment got a set-back, for Gail Russell and Guy Madi-
son when her pet spaniel played understudy to Cupid!

GaiVs next is “El Paso 99 for Pine Thomas

Valeska

m - *

Larry’s back at work — with

a song on his lips, a new contract in

his pocket — and Betty at his side

BY LARRY PARKS

GO to church, work hard, marry a good Lutheran
girl, and everything will always come out all
right,” my mother used to say. That was Moth-
er’s commendable, if simplified, solution for what-
ever the future hatfded me.

As it turned out, it handed me plenty. Not all of
it too good. And I’ve had occasion to remember her
philosophy.

Well, I like to think I spent the last year and a
half as constructively as possible. And happy days
are here again. It looks like the Parkses are in for
a much happier new year.

For us, this New Year’s Eve fell in September —
the afternoon I signed a new five-year contract
with Columbia Studios which terminated long
months of controversy. Under the new contract, I
will make one picture a year for Columbia, which
can cover a period of seventeen weeks. The other
thirty-five, I’m a free agent. I can make my own
commitments with other studios, stand on my own
judgment, together with Betty and our manager,
Lou Mandel, have my own independent producing
company . . . which has long been my tall dream.

To one long accustomed to a sequence of bad
breaks, it seemed nobody could ask Fate for more.
Not even on both knees. Betty and I celebrated
the beginning of our New Year — strictly Parks-style.
No night club. No confetti, horns or noise-makers.
The last eighteen months had been plenty noisy
enough. We bought a bottle of champagne, put on
our best blue jeans, hoisted our sleeping bags into
the car and headed for the beach cottage of our
best friends, the Lloyd ( Continued on page 92)

Betty just grins and bears it when Larry blasts out with
the Jolson tunes. They’re planning to co-star '
in his first producing venture

TTfc'ifV.

Jeanne and Paul prac-

tice no fifty-fifty formula.
They have their own kind of
arithmetic for subtracting
the pitfalls of marriage

BY JEANNE CRAIN

Three years of marriage to Paul have taught
Jeanne how wrong realistic friends can be

I’LL be having my second baby about
the time that you are reading this.
I hope it’s a girl whom I can name
Diane Jeanne. My twenty-two-months-
old son, Paul Brinkman Junior, is the
sort of bounding, healthy youngster
that every mother wants. But, still,
there are some very special things I
could tell a daughter, the kind of things
that are particularly important for
every girl to know. I mean romantic
things.

I am so lucky. Not only have I been
fortunate in finding romance but three
years of wedded happiness have ac-
tually increased it.

That, I believe, is the very first thing
I’d tell a daughter — that romance does
not have to be lost after marriage. I
know many sincere people believe just
the opposite. ( Continued on page 105)

Leading lady in her

own love story: Jeanne Crain of

“Letter to Three Wives’5

Marriage

Romantic

G. Morris

my&n

mimm

“At the Crosby ranch,” says Wally, “it’s
breakfast at 6 a.m. for all hands — or else”

IF THERE are any squares left who believe
those radio gags about Bing Crosby being
a lazy man, they should see the guy on his
ranch at Elko, Nevada. As one of the lucky
characters who has known him for twenty
years and who gets a crack at visiting the
ranch every summer, I can tell you with
every creaking bone and aching muscle in
my body that I only wish it were true.

Gary, the oldest of the Crosby sons, un-
doubtedly wishes it were true, also. Then
Gary could get away with a little loafing, a
thing he purely enjoys. The twins, Phillip
and Dennis, might pick up better than those
two bucks a day wages they earn, if the old
man were actually as dreamy as supposed.
And a guest from the city might be allowed
to sleep after five-thirty a.m. Of course, said
guest can do that now, if he doesn’t mind
starving to death — and never expects to be
asked back to Elko again. The ranch is like
a new world in the desert — all green. It is
only 25,000 acres, but Bing and company call
it home.

There are trees and streams, even a lake —
a Crosby-made lake where Bing himself
dammed a stream. ( Continued on page 47)

Which means dressing up for dinner
by taking off your hat. And fishing, hunting
and boating — for Bing — as the kids
pitch in and make hay

BY WALIY WESTMORE

“Half work — half play” is Bing’s motto for Pat Ross, Phil,
Dennis and Cary. The boys are paid for ranch chores

Boat christening at Wildhorse Lake was highlight of the Westmores’ visit — but a flat tire almost postponed the ceremony

Dixie, the champ of the barbecue pit, had Edwina
Westmore begging for her venison steak recipe

Cowboy Crosby of
“Connecticut Yankee”

Picnic in the desert: With nary an oasis in sight, Edwina Westmore, Dixie, ranch manager Johnny Eckeart, his
wife Dorris and Bing stocked up with canteens of spring water and hampers of food for a day’s outing

It’s a hay and cattle ranch and like the man
who owns it, everything about it is efficient
and there’s no nonsense of wasted effort.
There’s a big ranch house, where the ranch
manager, Johnny Eckeart, and his wife live
the year ’round, and where the Crosby kids
bunk during the summer.

There’s a bam, nearly big enough to stack
the 3500 tons of hay they harvest. There’s a
hydroelectric plant fed by streams coming
from the mountains through twenty-three
miles of pipe. There is machinery the like of
which no farm ever saw for sheer efficiency —
stuff like a hayrack made out of tubulous
steel and another machine that does the work
of eight men in stacking hay. There’s a com-
plete woodwork shop and then scattered
around a plot of green lawn, there are the
guest houses — and the houses for the crew,
cowboys, farmhands and cooks, fifteen in all.

Bing and Dixie’s house and the guest
houses have a big living room with two
bedrooms and a bath between, and are fur-
nished in a comfortable California-Monterey
style.

Everybody — the Groaner himself; Dixie,
the kids, the guests and the crew — all eat
together in the big dining room of the main
house.

The routine on the ranch is wonderful.
The Chinese cook rings a bell at five-thirty
a.m. which means “get up.” The second bell
at six means food’s on the table. It’s country
style, even at dinner, which is at six p.m.
The food’s down when you get there. You
pass it around and pitch in. After each meal,
you take your own dishes to the completely
modem kitchen, which has garbage disposal,
dish washers and all that. You are in bed at
eight-thirty at the latest.

In between you work and play in a very
pleasant proportion, a la the owner’s
methods. Nobody ever lolls. Dixie and my
wife kept plenty busy, ordering the food and
seeing to everybody’s comfort, and I had my
own special task of loading trucks with sand
to be brought to the lake, where some of the
hands would take over to turn that sand into
a beach.

Gary’s job was soaking fence posts in cre-
osote and placing them. When he first hit the
ranch from his school in the East, he weighed
183 pounds. By the time he returned he. was
down to a trim 160. The twins, who are four-
teen to Gary’s sixteen, helped with the fence
making and haying, drove rakes, etc. for six
weeks. Linny, the (Continued on page 100)

Bing prefers the ruggedness of Nevada ranch life to the
comfort and splendor of his beautiful Beverly Hills mansion

When their truck stalled on return from fishing, Phil, Wally
(below), Bing and Dennis hiked seven miles to nearest phone

Qover §irl

Lana’s world is no longer bounded by the hills of Hollywood

Scoop — in any language. In Lana’s own words,

Photoplay presents the intimate story of her life as Mrs. Bob Topping

THE sunshine poured down on our yacht, anchored
off the southern coast of France. As the three
French divers went over the side of the ship into
the water Bob asked me, “Well, Mrs. Topping, how do
you like hunting for buried sea-treasure?”

“I love it,” I said, hanging over the rail with him
to watch the divers sink toward the skeleton of an old
ship far below. And I thought, “And furthermore, I
can’t believe it — me, Lana Turner, honeymooning and
treasure-hunting six thousand miles from Hollywood,
off the shores of France!” A few minutes later I was
even more astounded, for the divers struggled to the
surface with a mysterious object four feet high, com-
pletely encrusted in barnacles.

“It is only the beginning,” the divers told Bob in
French and sure enough, they worked all afternoon
bringing up mates .to the first mystery. Finally there
were forty of them dripping on the decks of our yacht!

Forty, and later we found out, with the barnacles
scraped off, what they were. They were ancient Roman
wine casks, two thousand years old, that had gone

down hundreds of years before on a shipwrecked Ro-
man galley! They are beautiful, too, made of a strange
red pottery, with double handles at the top. The
French Government kept thirty-six of them, but Bob
and I are bringing four of them to America. Once
they’re here, we’ll show them to the Metropolitan
Museum of Art to find out exactly what they’re made
of — French scientists were completely puzzled by them.

There! I told that story to show you how different
— how unbelievably different — my life has been in the
few short months since I became Mrs. Robert Topping.
It’s hai'd to realize that we were only married last
April 26th. Since then my life has changed so com-
pletely that it’s like white compared to black and I
am happier than ever before. Happier, too, than I ever
dreamed of being in the last few hectic years. This is,
without a doubt, my most exciting story.

Just to prove again how different and wonderful
everything is for me: I shall never forget the day
last September when, back from Europe, Bob took
me to my new home — my first ( Continued on page 96)

Johnny hid his shyness with a long
loud roar. But Marie knew the way
to skin the lamb and bring out . . .

The

Lion in

BY MAXINE ARNOLD

It took John a year to learn how to speak for himself
and get the right answer from Marie

WHEN you attend a large party, do you too
often feel you were invited by mistake? That
perhaps they just used the latest loan
company mailing list? Do you go into a deep
freeze and wish you were?

Do you hold brilliant imaginary conversations
with the bossi demanding a raise, and instead work
several months overtime?

Then cheer up, chum. Examine the life records
of John Lund.

To many who know John Lund now, the fact that
this six feet and one-and-one-half inches of blond
good looks and witty repartee once incorporated
a very timid soul is in itself a big surprise.
Virile-voiced, with a ready smile and an
easy-does-it manner, John talks at the drop of an
ear, meets life’s problems with a constant
wisecrack and fairly spreads self-assurance in
his stride.

When John first came to Hollywood, he made
life pretty impossible for script writers, tearing
wildly through the first draft of a movie script to
see if by chance they’d written a line referring to
his character’s pulchritude or sex appeal. If so,
John would plead, “Please, fellows, strike that one
out.” Any romantic reference to himself embarrassed
him, so sure was he that audiences would
give it a great big yak. ( Continued on page 79)

Romance in reserve:
John Land of “Bride of Vengeance”
Smith

Hearts and darts — a
new game for an age-
old custom. Roddy
aimed for Ann’s name,
won a kiss and a dance

Follow Ann Blyth’s
recipe — if you want your
party as romantic as
a Valentine’s paper lace

BY KAY MULVEY

Ann Blyth is in ‘‘Red Canyon” ; Mona Freeman , ‘‘Streets of Laredo” ; Terry Moore, ‘‘The Return of October” ; Barbara Hale, *' Jolson Sings Again ”
Bill Williams, ‘‘The Stratton Story'*; Lon McCallister, ‘‘The Big Cat”; Roddy McDoWall , ‘‘Macbeth”

Ann used romantic strategy by placing married couples Mona Freeman and Pat Nerney, Bill Williams and Barbara
Hale together, while sharing her table with the heart-free Lon McCallister, Terry Moore and Roddy McDowall

ANN BLYTH loves a party
— and one that will be
pretty. Valentine’s Day
- ^ h. 'J was a perfect occasion. Ann
•aUmtr got the group into a party
mood with some hilarious games. They threw
darts and spun the bottle for kisses. After the
spread, they danced to waltz time, ending the
evening with a romantic Strauss tune.
Though she thinks buffets are dreamy, she
doesn’t like to have her guests balancing
plates on their laps, so she always sets bridge
tables, adding a formal touch to the informal.
Here is Ann’s menu: Shrimp Creole, vege-
table platter, baked beans, Valentine salad,
hot rolls, relish plate of olives, pickles, celery,
onions; coffee and milk, cake and fruit com-
pote.

Shrimp Creole: For each 3 lbs. of fresh
shrimp (which serves 6) bring 3 quarts of
water, IV2 cups of vinegar and 2 tbsp. salt to
a rapid boil. Add shrimp and boil 5 minutes,
covered. If you use canned shrimp, use 2
cans for 6 people. To make the sauce, sim-
mer 8 minutes: IV2 cups canned tomatoes, V2
thinly sliced green pepper, 1 onion sliced
into thin rings, and V2 cup sliced fresh or
canned mushrooms. Cook until vegetables
are just tender. In separate saucepan, melt 2
tbsp. butter, add 1 tbsp. flour, stir until well
blended, add to first mixture and boil 2 min-
utes. Add shrimp and serve in chafing dish.

Vegetable Platter: For a nice variety in
taste and color, Ann combined glazed carrots
(made by cooking whole peeled carrots until
done, but not soft, rolling them in melted
butter then in granulated sugar and brown-
ing slightly in frying pan); balled potatoes
(use ball cutter on large, raw potatoes, boil
until tender but not soft, drain and garnish
with melted butter and chopped parsley) ;
plain boiled cauliflower and boiled asparagus.

Valentine Salad: Place gelatine hearts
around outside of large plate, decorate with
endive, put bowl of mayonnaise in center.

Gelatine Hearts: Add 2 envelopes unfla-
vored gelatine to 4 cups tomato juice, bring
to boil. Add 1 bouillon cube, juice of 2
lemons, dash of Tabasco, 2 tbsp. grated onion,
1 cup diced celery. Pour into molds, chill.

Valentine Cake: Use your favorite layer
cake recipe, cover top and sides with white
frosting, flute edges with frosting in pastry
tube, then color remaining frosting bright red
to make heart. Best frosting for decorating
cake is made by beating three egg whites
with Vi tsp. cream of tartar until stiff, beat-
ing in sifted powdered sugar (about 2%
cups) until proper consistency to spread,
add 2 tbsp. melted butter, mix.

Ann Blyth — who is the artistic type when it comes to giv-
ing parties — divided her Valentine heart cake eight ways

The candles were lit, the best silver laid out and the food
piping hot. Even the old bean pot took on a special glow

Roddy really had a lucky streak. Ann’s kisses again came
his way when the group played “Spin the Bottle”

You don’t have to live
in Bel- Air to belong to
the Country Club where
stars like Burt Lancas-
ter (in foreground) tee
off on one of the finest
courses in the country

Red Skelton recently moved his family, gag files and collection of guns
(for prowling comedians!) into this Colonial-type home. Bel-Air houses
can be any type but plans must be approved by Supervisory Committee

Showplace of Bel-Air is Capo di Monte, Atwater Kent’s hilltop home, setting for many of Hollywood’s most famous parties

m-A/R

GwiAmi ojj JzJImu

The Ray Millands live
here now. They admir-
ed this Mediterranean
type house, with its un-
usual entrance court,
for years before they
bought it and furnished
it in Regency style

BEL-AIR is a dream come true. Its
3200 acres provide the homesites
of stars like Walter Pidgeon and
Greer Garson and socialites like Jus-
tin Dart, president of Rexall Drug
(he’s married to Jane Bryan) and
Atwater Kent, radio magnate. Mr.
Kent’s home originally belonged to
the late oil king, Alonzo E. Bell,
who settled Bel- Air. Here Kent gives
his fabulous parties and furthers his
dreams of giving worthy young peo-
ple a musical education. Bel-Air, ten
minutes from Beverly Hills, has 100
miles of bridle trails that wind through
the hills dotted by homes of endless
variety and charm.

Photograph # by
Fink and Smith

Bill Eythe and Cathy Downs lunch at Farmer John’s, gathering spot
for famous folk who eat on its stone courtyard. It’s the only res-
taurant for miles, outside of Bel-Air Hotel and Bel-Air Farm House

Across this campus 14,570 students hurry with their dreams. The U.C.L.A. buildings and grounds cover 384 acres

When Ida Lupino was engaged, she searched for a home as old-fashioned in mood as she intended her marriage to be. This
is it — built like an old New England barn, on a mountain, it. hides modern conveniences behind an early American facade

An old music stand becomes a gay bed-
room piece against rose-trellised paper

Philodendrons nestle in an antique vase
atop an old Franklin stove, painted white

The telephone rests where Collier
once sat — on his own school desk

Take a leaf out of Ida Lupino’s decorating book and
restore those old things to a new place in your home

BY RUTH WATERBURY

ON THE day that Ida Lupino became engaged to Collier
Young, story editor for Columbia Studios, she started
house-hunting. She knew exactly what she wanted and
she wasn’t one bit afraid to tell anyone. She didn’t want a
“smart” house. She didn’t want a “moderne” house. As Mrs.
Collier Young, she desired a frankly sentimental house, pretty
as a Valentine and as old-fashioned in mood as she intended
her marriage to be. In fact, Ida sought a romantic honeymoon
cottage, with all the newest conveniences and contemporary
comforts keyed to the style of her wide gold wedding ring.

Fantastically enough, she actually found such a house — a
brand-new house, built like an old New England barn, a
story and a half in height, painted red, with a big window
where the hayloft would have been, with a little white picket
fence dramatizing the entrance and with an open fireplace in
the living room. Yet it had all the modern comforts — luxurious
bathrooms, a tiled kitchen and a well-behaving furnace neatly
concealed behind its early American ( Continued on page 93)

An old Pennsylvania Dutch dresser be-
comes a bookcase in Collier’s bedroom

Ida’s living room stresses comfort from any angle. In this cosy corner old prayer chairs become modern conversation pieces

(§M 'Mjiinv,

she’s

magic

BY MRS. FRED MORRISON

For Janet Leigh’s mother
these were the enchanted
years — that were to lead
to a mountain lodge,
a famous star and
that “lucky” dress

THE Fourth of July is a hard day to spend
quietly at home, particularly if you live in
a hot cattle town like Stockton, California.
I love Stockton. I was bom within a few miles
of it, and my husband was, too. It has a very
colorful, early California history.

But on the Fourth of July, 1927, Fred and I
weren’t concerned with the past or the present.
Our thoughts were all wrapped up in the
future, as they had been 'for the past nine
months. We were awaiting our long-overdue
first baby and we still didn’t have a name
for her.

“Her.” That was the way I always spoke of
the baby from the very first day that I knew
she was coming. My handsome young husband
and I had been married a little over a year
and he indulged me in everything. Fred got
as close to an argument then as he ever does.

“Look Helen,” he said. “We ought to con-
sider a few boys’ names, anyhow.”

“I just can’t,” I answered, stubbornly. “She’s
simply got to be a ( Continued on page 90)

Silting on top of the world:

Janet Leigh gets a chance to
sing in new film “Little Women”

Fink- Rice

m __

When the Sugar Bowl ski resort’s photographer took this pic-
ture he didn’t know it would be Janet’s passport to Hollywood

Janet, right, liked everything — kids, sports, even school!
With best friend Maggie Shepherd, who called her “Toots”

At twelve, with her mother. It was soon after this she started
wearing “flats” because she was growing taller than Maggie!

From one “Hutton-lot” to the other: Baby Candy can’t
keep her eyes off Lindsay, thinks she’s simply sensational

Putting two heads together shows Lindsay Diane
Briskin has inherited that famous Hutton grin!

IT’S lucky for those of us who love movies and
have worked hard to get where we are, that
stars no longer are forbidden motherhood as
they were in the days of slinky sirens. I certainly
am glad that the idea that stars lost glamour as
mothers went out with the fur-lined bathtub.

Our business is not too stable. Any one of us
could flop tomorrow and if we think we’re dif-
ferent, we’re just dreaming it up big. I’ve had
seven wonderful years in pictures and, with luck,
there may be seven more. But whenever I’m
through, I won’t have to sit around and read old
press clippings. I’ll have my family. And here
I’m sure I speak for Judy Garland, Mona Free-
man, Dorothy Lamour and Linda Darnell, among
other Hollywood mothers, as well as myself.

When Linda first discovered that the baby she
had waited so long to adopt was due to arrive,
she rushed home after working in the love scenes
in “The Walls of Jericho,” put on a smock and
worked until 4 a.m. painting elephants on the
walls of Lola’s nursery. ( Continued on page 63)

BY BETTY HUTTON

' Glamour gets a hearty
laugh from Hutton, who doesn’t
mind putting on the act so long as she
can spend the intermissions at home

When Betty of “Restless Angel” and Ted went to England
they found a way to keep Lindsay pretending she went too

You have to have something to use a toothbrush on! So Candy
just sits and watches while Lindsay scrubs and Betty supervises

I’D RATHER BE A MOTHER

John Howard’s reaction to mother on the screen proved how
wise Dorothy Lamour and other movie mothers must be

It was lucky for Mona Freeman that the scene suited her
mood the day she waited for the final word on Monie!

Being on the air when you’re up in the air is no fun, Celeste
Holm discovered, the day son Danny decided to go exploring

When Judy Garland and daughter Liza (here on the set with
Mickey Rooney) have Sunday dinner out, it isn’t for publicity

The time Linda Darnell, with daughter Lola, went on
tour she missed the biggest event of any mother’s life

And while Linda was touring Veterans Hospitals
throughout the country recently, she was heart-
broken to have missed such events as Lola adding
three new teeth and learning to mimic the barking of
the next door neighbor’s pup. A GI, who was near
her when she phoned home one night, was worried
when she came away with tears in her eyes. “What’s
the matter, Miss Darnell? Is there anything wrong at
home?” he asked, fearing the worst.

“She stood up for the first time,” wailed Lola’s
mother, “and I wasn’t there to see it.”

That’s the biggest cross any Hollywood mother
has to bear — not being home when her baby speaks
its first word or takes its first step.

For instance, when I was appearing at the Palla-
dium in London, it was really murder. I kept won-
dering if Candy was changing and whether they were
giving Lindsay her prune juice every day, or if the

children were too warm or too cold. I wrote eight-
page letters to the nurse daily and read and reread
the letters from her. I called home constantly and
Lindsay’s, “Mommy I miss you — come back,” almost
tore the heart out of me because I couldn’t leave that
very minute, much as I wanted to.

When I’m working in Hollywood, the first thing I
do when I get to the set is to call and see if every-
thing’s all right. I phone three or four times during
the day even though I know Teddy’s business is
only five minutes away from our house and that he
is looking in at regular intervals. When the doctors
thought that one of Lindsay’s playmates had polio,
I didn’t sleep for two nights and I don’t know what
I would have done if I had had Mona Freeman’s
experience.

Mona worked one whole day in “Streets of Laredo,”
knowing that little Monie (Continued on page 78)

1949: Ginger and Fred are reunited in the tech-
which they do a hillbilly routine and a highland

1933: First steps in a dancing partnership that was to
make Ginger Rogers and Fred Astaire tops in their field.
With their vivid interpretation of The Carioca in
“Flying Down to Rio” a new dance craze was started

1936: “Swing Time” was another triumph for the duo
who in 1935 and 1936 were chosen top box office
stars for “Top Hat,” “Roberta” and “Gay Divorcee”

nicolor musical “The Barkleys of Broadway,” ii>
fling and the “Swing Trot,” Fred’s own creation

Once more the sound stages echo to the

dancing feet of Ginger Rogers

and Fred Astaire as they swing back
into the rhythms that

made them tops too many years ago!

1939: The parting of their dancing ways came after
“The Castles.” Fred turned to new partners, Ginger to
dramatics. As “Kitty Foyle,” she won an Oscar but her
other films did not measure up to her musical success

1937 : In “Shall We Dance” they matched
their steps to “You Can’t Take That
away from Me.” It will be heard again,
with a new routine, in “The Barkleys”

Photoplay's

Reporter -
about-toten

edilh guijon

Jane Greer bares her shoulders
for the newest in negligees

Wherever the stars go, fashion
fabrics go — to extremes

FASHION is concentrating, above all, on lingerie these
days — principally because there have been so many
changes made, to quote a good old song. Colors
particularly are exciting because now we have lots of
undertones to choose from besides pink, blue or white.
There’s the ultra new champagne beige and the lovely
mauve tones for nighties, slips, panties and petticoats.
Black lingerie, too, not only continues to be a big selling
number the country over, but has long since ceased to
be associated with a chorus line. There are the black
bras, girdles, half-slips — the latter having taken the
place in many cases of slips, since many gals feel the
bra and half -skirt combination gives a better line to
clothes than a whole slip.

Jane Greer wears a hand-made black chiffon and
lace negligee over a flesh-toned slip. Eddie Stevenson
designed it — but not necessarily for her to wear in that

rip-roaring Western, “Stations West.” The negligee has
long, full sleeves and is quite decollete. The fitted
bodice is of black lace which continues down the front
in a panel and around the bottom of the skirt. To go
with it, there’s a filmy black chiffon nightgown featuring
butterfly sleeves and trimmed at the top with a pale
yellow checkerboard effect, hand hemstitched. The
chemise, in fashion years ago, has returned to style
with a bang. Formerly known as the “Teddy Bear,”
you’ll find scads of ’em — usually quite simply done in
the softest pastel shades, with pale blue and pink em-
broidery.

Juel Park, who makes a great deal of lingerie for the
stars, says the “shimmy” is staging a comeback because
with the long, tight suit skirt, girls were not wearing
slips and these are taking their places — yet giving a
femme a slip top under her ( Continued on page 70)

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Do help it then to show you happily — and with
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NOT ONE — BUT TWO Pond’s

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Hot Stimulation — splash face with hot water.
Cream Cleanse — swirl Pond’s Cold Cream all
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Cold Stimulation — a tonic cold water splash.
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REMEMBER — It’s not vanity to show
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Pond’s — used by more women than any other face creams.
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YOUR PHOTOPLAY

HOLLYWOOD STAR ADVENTURES

JANE POWELL'S FRIENDS WERE MUCH BETTER
SKATERS THAN SHE, AND IT HURT HER PRIDE,
ESPECIALLY SINCE SHE WAS ANXIOUS TO
I iMPRESS A CERTAIN YOUNG MAN WHO WOULD
BE LEAVING SOON FOR NEW YORK.

SO SHE PERSUADED GEORGE
VOUTCH, A BALLET DANCER, TO
INSTRUCT HER IN BALANCE,
LEAPING, WHIRLING, ETC.

THIS WAY I'LL ALSO LEARN
TO SKATE EXPERTLY BY APPLYING]
SAME TECHNIQUE TO
SKATING.

ISN'T SHE
TERRIFIC/

AHA/ THEY'RE
BEGINNING TO
NOTICE ME.

WILL YOU
LOOK AT
THAT/

EVERYTHING'S ^
WORKING OUT SUPER/ ,
NOW I'LL REALLY SHOW
THEM SOMETHING/ i

AT THE RINK JANE WASTED NO TIME IN SHOWING THE
GANG HER NEW FOUND SKILL. FINALLY —

°°°“ atfei---

WON'T THE GANG
BE SURPRISED/ >

ON MORNINGS WHEN JANE WAS SURE
NONE OF HER CROWD WOULD BE AT THE
RINK, SHE PRACTISED FOR HOURS.

AND THEN CAME HER BIG CHANCE --AT LAST

FINE/ I'M LEAVING FOR
NEW YORK TOMORROW, SO

IT WILL BE MY

LAST PARTY. J

A SKATING
PARTY? OH
YES, I'D
LOVE TO ,
GO.

GULP/ IT'S '

S-SONJA HEN/E
THEY’RE WATCHING/
g THAT WILL <
TEACH ME'M

CONFIDENT THAT EVERY EYE WAS ON HER,
JANE STARTED OFF ON A “FIGURE EIGHT",
BUT AS SHE TURNED--

a GREYHOUND

EXPENSE-PAID TOUR

Take your pick! Everything is
arranged, paid for in advance

An Amazing America Tour is all pleasure for
you because Greyhound makes the reserva-
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amazingly low in cost — and are arranged for
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choice of hotel and resort facilities — so go in
the Spring or early Summer. A few of the
dozens of tours available:

6-DAY MIAMI TOUR

Includes hotel accommodations, bus
and boat sight-seeing trips, round-trip
to Key West, with luncheon.

*284S

□

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Provides hotel accommodations, Gray
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$132°

□

5-DAY NEW YORK CITY TOUR

Hotel, sight-seeing in N.B.C. Building,
Rockefeller Center, Empire State Bldg,
and Gray Line tour over entire city.

$21 60

□

7-DAY MEXICO CITY TOUR

Accommodations at Hotel Geneve,
four sight-seeing trips to points of in-
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Six meals included.

*6860

□

11-Day Florida Circle Tour, $73.20 □. 6-Day
Circle Tour Colonial Virginia, $40.43 □. 3-Day
Chicago Tour, $11.95 □. 5-Day Washington,
D. C. Tour, $24.95 □. 4-Day Los Angeles
Tour, $12.40 □. 2-Day Mammoth Cave Tour,
$21.10 □. 4-Day Historic Boston Tour, $23. 25 □.
{Add price of Greyhound ticket to above rates. )

MAIL THIS COUPON FOR TOUR INFORMATION

Fill in this coupon and mail it to: GREYHOUND HIGHWAY
TOURS, Dept. MW29, 105 West Madison, Chicago 2, III.
Be sure to put check-mark opposite tour which interests you.

Name

Address — —

City & State •

Calico and Lace

( Contimied from page 66) blouse. Juel
adds that it’s good economy to buy hand-
made underwear if you can possibly afford
it, because it will outwear several sets of
machine-made rayon underwear. Miss
Park is also working on a slip-and-pantie
combination for wear with suits and it will
be all in one piece.

Joan Crawford is one who is mad about
the short nightgowns (she even sends them
to her pals) These can be worn as a bed
jacket, too. Joan’s are usually dainty, sheer
things, but almost “tailored” in the fact
that they have long full sleeves with a tight
cuff at the wrists; and they all have little
lace-edged round collars at a high neck-
line— a real, old-fashioned look. But when
she wants to get up and walk around the
house, Joan puts on matching short bloom-
ers (yes, bloomers) so that she’s fully
covered. This we gotta see.

LITTING from nights to knits, some of

the new knitted dresses are really on the
glamour side. Gone are the days when a
knitted dress meant that you were all out
of shape after sitting down in it. So
charming for any time of the year —
whether in heavy wool, light wool, com-
bination threads or what-have-you — are
the new tight-bodiced knit dresses with
their full gathered skirts and dainty sleeves
— to say nothing of the dressy knitted
suits, some of them made entirely of shim-
mering lame ribbons. But on the more
practical side is a darling daytimer that
Nancy Sinatra brought back from New
York. It’s of pale gray and dark red wooly
yarn, knitted in slightly bulgy triangle-
shaped “puffs” of the combined colors. The
bodice is skin-tight to the normal waist-
line and has a tiny round collar. Little
yarn-covered buttons march down the
front of the short-sleeved waist. The skirt
is enormously full and gathered softly at
the waistline, accentuating Nancy’s small
waist. She wears lots of gold jewelry with
it and a narrow red belt.

Still on the more or less sports side, is
Doris Day’s very good tweed and jersey
combination. She pulls a bright red jersey
pullover over a deep green monotone
tweed skirt and slaps a tiny bright red jer-
sey beret on her head. Dark green alligator
pumps, bag and dark green fabric gloves
and lots and lots of gold jewelry — includ-
ing several of those little “scatter pins” at
the shoulder of the blouse — make this a
very good-looking gadabout costume that
you could easily acquire in your favorite
color combination.

Now we go from knits to nets. In this
case, fishnet Gracie Allen has a really

unusual shawl-stole of very coarse fish
net, dyed a deep cherry red, which is
really a shawl square, folded to form a big
triangle. It’s a knockout finishing touch
for resort or early spring wear— with any-
thing from dressy cottons to white silk
jersey evening gowns. Grade’s gown for
this “accessory” is white silk jersey, fash-
ioned with a full, floor-length skirt gath-
ered to a fitted bodice which has a low,
off-shoulder neckline and three-quarter
length sleeves that crush snugly to the
arms. She wears a huge diamond and ruby
bracelet to complete the red and white
look of the ensemble.

There’ll be lots of “girls in calico” — if
they’re smart girls — this spring. And these
frocks run the gamut from sportswear
to the loveliest of evening gowns — in all
sorts of prints, plain colors and with all
sorts of trimmings. Joan Bennett has a
strapless, decollete calico dress in a gold
and olive green print, with a stole of the
same material. The low neckline is trimmed
with gold ball-fringe. The same fringe
trims each end of the long straight stole,
which is used instead of any wrap or jacket
for a cover-up. The floor-length gown is
cut along princess lines. Higher waistlines,
long, basque, tight waistlines, tiny, sashed
waistlines — yep, this season “anything
goes.”

Diana Lynn, dancing dreamily with John
Lindsay at Arnold Kirkeby’s stupen-
dous party for Kay Thompson, caught our
eye in the most lovely gown of ivory
tulle. Her enormous bouffant skirt was
further emphasized by an even fuller tulle
peplum gathered at her tiny waist. Bodice
was fitted (over deeper ivory satin) to an
off-shoulder line below which peeped tiny,
puffed sleeves of the same net. Her little
bag and evening sandals were of deep red
satin— a nice and different color combi-
nation. The ivory, champagne and yellow
tones are very much in — and so flattering
to most. Next month, we’ll tell you of the
gorgeous gown, in these color tones that
Ava Gardner (who is pretty gorgeous her-
self) is flouncing around in evenings. At
least two hundred of your favorite stars
and starlets, who were at the Kirkeby
party, will tell you it was just about the
most lavish ever given in Hollywood. The
buffet table, laden with luscious food,
seemed about a mile long — every tree on
the terrace had been covered with garde-
nias, and they had many individual tables
(seating six or eight at each — over three
hundred in all), trimmed with little
obelisks covered with at least a half dozen
orchids in the center.

The End

t&e uaowutidAecL

TRUTH

a&out otMMtevt

It’s radio’s greatest morning show because each
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emotions. You’ll be fascinated by .these daily
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each one holding up a mirror to real life,
taken from the pages of True Story magazine.

tea* "MY TRUE STORY"

Radio Program on ABC Stations

•MW29

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(Continued from page 10) me. She and I
used to be good friends until I fell in love
with Don. He has one very close boy
friend who was in service with him in
the Air Force. Don says he would hate
to give up his palship with this buddy,
which would happen if either married.
Also he feels that he lost time when he was
in the service, so he has lots of things to
do and not enough time to do them. He
and Dave like to take long vacation trips,
hunt, fish, shoot and go boating.

Do you think it is worth while for me to
wait until Don finds himself and realizes
that he loves me, or should I go out with
other fellows? When he says he loves me,
is he merely speaking words? Or is he still
mixed up from the war?

Llewellyn Anne T.

/ think that this obviously nice, sincere
boy thitiks of you as a sweet but bother-
some child, and probably wishes you
would go away and leave him alone. It's
quite true that he is only six years older
than you are. In three or four more
years that distance will seem ideal. At
this particular time, however, the tivo of
you are farther apart in the age cycle
than you have ever or will ever be. What-
ever you do, don’t chase him. And don’t
pester him to marry you. That is still
considered unladylike in any circle. Think
over what this boy has told you: That he
“ lost time when he was in service, so he
has lots of things to do and not enough
lime to do them.” Be young and gay.
Know many boys and have dates with all
of them. Learn something about your
fellow human beings before you settle to a
lifetime partnership with just one.

Claudette Colbert

Dear Miss Colbert:

I am sixteen years old and I have a won-
derful mother. For fifteen years my mother
has had one very intimate friend. My
problem is that my mother’s friend does
not like me and never has. All I can ever
remember is that this woman has criti-
cized me for everything I have ever done
in her presence. She has said what a shame
it was I didn’t have curly hair like my
mother’s, or a dimple in my chin like my
mother’s. Finally, she made some remark
about my school work and what a shame
it was that I wasn’t smart like my mother,
so I blew my top. I told her off.

Now my mother doesn’t see this woman
any more, but she has admitted that she
misses her friendship. I’m a little ashamed
and I don’t want to be selfish, but I do
think the woman was in the wrong. Do
you think I should apologize so that my
mother and she can be friends again?

Wiletta Y.

She confidently expects to marry me and
to return to the States with me. Can a guy
be in love with two girls at the same time?
How can I tell the girl over here in Eu-
rope that I will always love her, and then
add that I am going home to be married?

PFC Britton C.

My personal opinion is that you aren’t
really in love ivith either girl. Undoubt-
edly you have idealized the girl at home
and when you see her again you may be
surprised to find how little she resembles
your dream image. On the other hand,
the girl in Germany may be attractive to
you because you are lonesome. Certainly
you should not marry one girl while you
think you are in love ivith another. A
person ivho is truly in love is unconscious
of the fact that any other individual,
aside from the beloved, walks the earth.

Claudette Colbert

Dear Miss Colbert:

A few months ago, I made friends with
my neighbor and thought, at first, that she
was a nice person. However, I soon learned
that she never seemed to have anything
she needed. She began to appear at my
door a dozen times a day to borrow some-
thing; sugar, eggs, lettuce, or my vacuum
cleaner. The vacuum situation has become
a frightful annoyance because she borrows
it every morning. She has a typewriter of
her own, but whenever she wants to write
a business letter, she borrows my type-
writer. Recently, we bought a television
set. Now she comes in every evening,
quite as if she were a member of our fam-
ily. I long to tell her off, but I am handi-
capped because I have just begun to take
piano lessons. We have no piano, so I have
to practice on her piano for an hour each
day. Is there some way I can let this
woman know that we are sick and tired
of her constant presence?

Pareni T.

There is a very simple way to break off
your friendship with this neighbor. Sim-
ply stop using her piano every day.

Apparently it has not occurred to you
that this neighbor may find your daily
practice something less than overwhelm-
ingly pleasant, and that perhaps she is
taking a very subtle ( and rather humor-
ous) way of making herself exactly as
trying to you as you may be to her!

In these neighborly exchanges, one
must be willing to extend full coopera-
tion, or one must remain completely the
stranger. There is seldom a middle
ground.

Claudette Colbert

CUU —

The rudeness of one person never ex-
cuses the rudeness of another. I believe
that you should apologize to this woman
anti explain that you have found it diffi-
cult to accept her criticism because you
do not feel that she is in a position to
make suggestions. Be very nice about it.
Tell your mother in advance what you
wish to do and if she disapproves, forget
the whole matter. If she approves, by all
means mentl the rift.

Claudette Colbert

Dear Miss Colbert:

I am a GI still in Germany. I came into
the Army in 1945, have been over here since
the early part of 1946. When I was at home
I had a wonderful girl with whom I was
deeply in love. I had known her all my
life. She is waiting for me to come home
to marry her. Yet, I have met a girl over
here and I have fallen in love with her, too.

Have you a problem which
seems to have no solution?
Would you like the thought-
ful advice of

(diaudette

CofLrt?

If you would, write to her in
care of Photoplay, 321 S.
Beverly Drive, Beverly Hills,
Cal., and if Miss Colbert
feels that your problem is of
general interest, she’ll consid-
er answering it here. Names
and addresses will be held con-
fidential for your protection.

/Veto/

vscover/es
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. . . A/evee 6e/oro
Sue/) Beauty -far /(DU/

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when
I learned
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by the Journal of the American Medical Association

I Predict a

( Continued from page 33) In the long time
they have been in love, it has not always
been happy for her. It never is for women
who give their hearts to brilliant and
erratic men. But I think she had rather
be miserable with David than happy with
any other man.

Oh, she will talk freely about how won-
derful David has been to her, what a fine
boss he is and how she feels about what
he has done for her career as well as the
career of every other actor and actress
under contract to him.

“He is the most wonderful man I have
ever known,’’ she told me the afternoon
we met at my home. “He is so instinc-
tively right about everything. His mind
is so brilliant — so searching.

“David never loans out actors under
contract to him for pictures he doesn’t
believe in himself. Money doesn’t mean
that much to him.”

I smiled to myself, thinking how differ-
ent is her reaction from a certain other
actress once under contract to David. This
lady had said, “It’s nice to work for Selz-
nick — but I’d rather work for myself and
keep the money.” I did not, however, put
this interpretation before my guest.

IT HAD taken a bit of doing to arrange
our appointment. Not that Jennifer was
hard to get. She had been surprisingly
cooperative for a girl who has a reputa-
tion for dodging interviews. But a previous
appointment had had to be cancelled be-
cause I had to take out after a hot news
story and couldn’t keep my date with
her. By the time we set another appoint-
ment, it was just twenty-four hours before
Jennifer was due to leave town on the first
lap of a Veterans’ Hospital tour. There-
fore, when we finally got together it was
late in the afternoon and a little on the
hurried side.

When she came in, I thought she looked
extremely rested and fresh for an actress
who has been a solid year on one picture —
I mean, of course, “Portrait of Jenny.”

Her Dior outfit was simplicity itself,
consisting of a black jersey blouse and a
full red skirt adorned by a wide black
belt. When I commented on how chic it
was, she laughed easily and said with the
enthusiasm of a schoolgirl, “I’m clothes
crazy. I admit it.”

I think she would have liked to stay on
the subject of clothes for a long time. It’s
such a nice safe subject. But I had other
ideas. Her approaching marriage, partic-
ularly.

She must have sensed this because one
of the first things she said after we had

Honeymoon

settled down over our cups of coffee was:

“You know, I’m sure, how I have been
criticized for not talking to the press and
answering every question hurled at me?
Well, that is not because I want to be diffi-
cult or to make it hard on reporters whose
job it is to get stories about me. Once a
girl has decided to become an actress or a
public figure, she has no right to object
to questions. An actress certainly must
answer questions once a reporter gets to
her.

“You mean by not granting interviews
you save yourself and the reporter em-
barrassment, Jennifer?” I asked.

“Exactly,” she went on. “Many things in
my life I am not free to discuss because
they involve other people. I am willing at
all times to answer questions limited
solely to me, to my work, to my individual
plans. But, it is neither fair nor honest
to talk about situations involving other
people’s lives. For this reason alone it
has been necessary for me to fight for
privacy even though I know it has antag-
onized many people.”

I’ll say this for Jennifer, she has fought
for her privacy in the right way and not
gone out of her way to put on silly, publi-
cized dodges the way Greta Garbo and a
few others have done.

Jennifer has done her best to go about
her private life as quietly as possible. She
does not attend a premiere on stage or
screen and then make a big to-do hiding
her face from cameramen. She doesn’t
attend in the first place.

No press agent heralds her train or plane
arrivals to the press only to have her do a
marathon race getting away from report-
ers. She slips in and out of town, usually
accompanied by her two sons Bobby and
Michael, age seven and eight, respectively,
as inconspicuously as any housewife.

Those two boys are one subject she will
talk about and with pride, I assure you.

“I’m never going to take the boys to
Europe again,” she said. “It’s just not
right. Even though I had a tutor for them
in Switzerland, they lost too much time
from their studies and got too far away
from their normal routines. I wish you
could see them in their uniforms. I’ve
sent them to the Black Fox Military Acad-
emy this year, you know.”

While I had been talking with Jennifer
on the phone arranging our date I had
been able to hear the childish voice of one
of the little boys in the background call-
ing, “Mommy, Mommy.” In her gentle,
calm way she had answered, “Bobby, dear,
I’m talking to Miss Parsons right now,
won’t you please ( Continued on page 76)

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( Continued from page 74) wait?” To
her two young sons this glamorous girl is
just “Mommy,” someone to have her skirts
tugged at and to be cajoled into letting
them do as they please.

To other people, she is many different
things. I have heard it said of her that
she is brilliant, intelligent and an artist.
Men who have directed her have called
her a wonderful actress. A few catty
women have termed her “plenty smart.”
Others say she is more a girl deeply in
love than anything else.

NOT many people know that Jennifer has
actually known David for seven years.
He first saw her as Phyllis Isley at his
New York office when she read for him for
the lead in “Claudia.” With his usual far-
sightedness, he signed her to a contract but
kept her under wraps for two years while
she studied quietly at a dramatic school.

They were not in love then. During
this time David was deeply interested in
Nancy Kelly, beautiful redhead, but he
had not yet obtained his freedom from
Irene Selznick, the chic daughter of Louis
B. Mayer, who has made such an over-
whelming success as the producer of
“Street Car Named Desire” on Broadway.

Never can it be said in truth that Jen-
nifer came between Irene and David.
When she arrived in Hollywood she was
very much married to Robert Walker.
Their two sons were babies and she and
Bob were trying their best to get a foothold.

Long before there was any thought of
a romance between her and David, she
and Bob separated. It is true they went
back together again when she felt Bob
needed her — but the rift between them
was too great to be bridged permanently.

Jennifer never talks about Walker, but
I happen to know that when he was in
trouble recently, she was greatly con-
cerned. Bob has always been highly
strung and extremely nervous, so it is not
fair, after their long separation, to blame
his front page antics on her. I had heard
that she had a long talk with him after
his trouble and begged him for the sake
of their children to take hold of himself.
But this can only be told as a rumor.

Jennifer has never discussed what
broke up their home. Perhaps it was too
much ambition under one roof. Fame
happened very suddenly to these babes in
the Holly-woods. The quick ascent of the
girl he had married, to Jennifer Jones,
Academy Award star of “Song of Ber-
nadette,” her first important picture,
was a big problem for both of them.

I believe that Jennifer’s feeling for Bob
was, and is, a maternal one. Her love for
David is the consuming love a woman
gives to the big love of her life.

To me, Jennifer is “all woman” which ha<
made it possible for her to put her love
for David above any heights she might
reach as a star I honestly believe that ii
David asked her to give up her career
tomorrow, she would do it.

As for David — I have known him since
he was a little boy and I am very fond ol
him. Perhaps, like Jennifer, I am preju-
diced— but I can understand how she be-
lieves that the man she loves is the onlj
human being in the world upon whose
judgment she can rely.

“You know,” she told me, “he is sc
smart. On the stage in La Jolla last sum-
mer, I realized I was not quite ready
for the role I was playing in ‘Seren;
Blandish.’ But he gave me permission te
do it, believing it would help me with mj
screen roles. And, when I am ready t(
go into a Broadway show, I know he wil
encourage me in that, too. He has sue!
rare understanding.”

I also know something else very nice
about David that not even Jennifer knows:
When Bob Walker was in such grave
trouble, David went to the M-G-M boss®
and asked that he be given a trial, plead-
ing his case. But that is all past history
Far more vital is what lies ahead.

“I have decided against making ‘Tril-
by,’ ” Jennifer told me. “Instead, I’m leav
ing soon for Europe to make ‘Gone ti
Earth’ for David, after ‘Madame Bovary
is finished. That should be ready to star
in mid-January or a little later.”

And that is when I am betting tha
they will be married — either before tha
picture starts or during production!

I felt like saying she could have a fieli
day collecting a trousseau over there bu
I changed my mind and said she wouli
certainly enjoy the Paris shops now tha
she admits she is clothes crazy.

“Oh, I bought a lot of clothes in Pari
last year,” she confessed, “and I lov
them. But if I could have Charles James’
clothes exclusively, I wouldn’t ask for an;
better. He made Mrs. William Randolp;
Hearst Jr.’s trousseau and it is so lovely

“Hollywood has changed me in on
way,” Jennifer laughed. “When I firs
came here, I wore only black. Now, not
my red skirt! But red is not my favorit
color. I think I like emerald green an
yellows best.”

I could see then that the case for mor
private and intimate subjects was closes
When girls get together and clothes com
up for discussion, even talk of marriage
and careers goes overboard.

But don’t forget, I’m the girl who
betting that the romance of Jennifer an
David will be culminated by an importai
“Mr. and Mrs.” announcement sooi
The End

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I’d Rather Be a Mother

(Continued from page 63) had every
symptom of polio When Mona left for
the studio that morning, her daughter had
a fever of 101 and a sore throat. She was
unable to hold her food and her reflex
actions were not good. Although the doc-
tor tried to assure Mona that the illness
was something else, she was unable to
quiet her fears. She was doing a hysterical
scene that day and believe me, she was
really hysterical. She still doesn’t know
what she did or why. She thinks it had
something to do with pleading with Bill
Holden not to let Macdonald Carey shoot
him, but she isn’t sure.

Then there was the time when Celeste
Holm’s son Danny was lost. One morning,
Danny went with his nurse to Saks to get
some shoes. At 2: 30 p.m., when Celeste
had to leave for a radio broadcast, they
still hadn’t returned. She was frantic
until she called from rehearsal and the
nurse answered the phone. “Are you
all right?” Celeste asked. “I guess so,” the
nurse replied tiredly. Then, “what hap-
pened. How’s Dan?” Celeste demanded.
“Oh, he’s fine,” said the girl, a little dis-
gustedly. What happened was that when
the nurse turned to pick up two boxes of
shoes, Dan made a quick getaway. For
two and a half hours, every clerk in Saks
was looking for him. His nurse almost
blacked out when she saw an open ele-
vator shaft until the men working in it
said Danny hadn’t gone down there. Fi-
nally, they found him, sound asleep on
the third shelf of the cashmere sweater
department. He had toured the store until
he was tired and was taking his afternoon
nap there.

ANOTHER Hollywood problem is keeping
our children unaware of the limelight.
It’s easy when they’re as unimpressionable
as Celeste’s son, who was bored when she
showed him her Academy Award because
the “Oscar” couldn’t wiggle its ears or
make a funny noise or nothin’.

With Dorothy Lamour, it was different.
Nobody has ever referred to her by her
screen name at home. They were always
very careful to call her “Miss Dottie” or
“Mrs. Howard.” Then one afternoon, on
the nurse’s day off, Dorothy had to go
to the studio to see her hairdresser and
took the then two-year-old Ridge along.
As they were driving through the lot he
looked about him sagely. “Where’s Dor-
othy Lamour?” he asked. Dorothy gave
him a big surprised “take.” “Who’s Dor-
othy Lamour?” she asked cautiously.
Ridge gave her a coy look and edged closer
to her in the seat. “Mudder dear — you
Dorothy Lamour,” he replied. To this day
Dorothy doesn’t know how he found out.
But when she let him go with her to see
the rushes of a picture, for once Ridge
didn’t have an answer. He was just a
very scared little boy. There was his
mother, up on the screen, yet here she
was safe and warm right beside him in
the dark room. Suddenly he began
screaming and Dottie took him out fast.

These are the mental images that start
a Hollywood mother thinking long after
the lights are out at night. One thing sure,
we’ll all have to fight to see that our chil-
dren lead normal lives, and protect them
from the hazards of being pointed out as
movie stars’ kids.

When Lindsay is a year older, Teddy and
I plan to send her to a nursery school
where she can get used to being one of a
group. Now we’re making sure she learns
how to play. We have slides, swings, all the
playground paraphernalia out in the yard.
We make it a gathering place for her
friends, Bridget O’Brien (Pat’s daughter),
Rebecca Welles (Rita Hayworth’s little

girl) and the other children in the neigh
borhood. We want them to know tha
they’ll always have a good time when the;
come to see Lindsay Briskin.

Like all others, I suppose movie moth'1
ers have theories about child psychology!
Some are strictly “schedule” mothers!
others are not. All of us temper schedule
somewhat when we’re working on a pic-
ture, and let the babies go to bed a littlt
later. Otherwise, we would go for week;
without seeing them at all. We believe ii
talking to them a lot, answering the!
questions — if we can, and making then
feel that they belong to the family.

Judy and Vincente Minnelli have starter
taking little Liza out to some prominen
restaurant every Sunday for dinner, sc [
she will be able to partake in gala occa-b
sions and get used to eating in new places1

It has been Celeste Holm’s experience
though, that sometimes a child can go toe
far in a family participation project. Foi
some reason, Danny, who was born with £
silver toothbrush in his mouth (a showei
gift) , will have no part of it. He prefer:
using his dad’s green plastic job- “Othei I
parents don’t have to share their tooth-
brushes with their children. Why do wt
have to?” Schuyler Dunning complains.

We couldn’t go along with dividing,
toothbrush billing either, but Teddy anc
I have always felt that making your chile
an important part of the party just can’1
be stressed too much. We even took
Lindsay on our trip to England by remotcl!
control. Before leaving Hollywood, we|.
got presents to be given to her every day
we were gone. The first day, she got e
toy airplane with a note explaining, ■“Thisj
is the airplane Mommy and Daddy left!
on for New York.” The next was a minia-'
ture ship, representing the Queen Mary;
The third, a little cardboard hotel was the
“Hotel Savoy where Mommy arid Daddy'
are staying.” In that way, Lindsay could'
pretend she was along with us.

We’ve always treated her like a grown-
up. In the evening, after her dinner
she joins us in the den where Teddy reads
to her. Sometimes we all attend a Mickey
Mouse movie on television. Lindsay loves
the movies and it is our secret hope thal
she will someday want to become an
actress. If we have guests, Lindsay’s in-'
vited in for a sip of Coke and a bite
of hors d’oeuvres. She loves to pass the
popcorn and make herself generally
useful.

Judy Garland would also like to have1,
Liza follow in her footsteps. “Although
we would probably have very little to
say about it, if we didn’t, for she is already
doing it,” laughs Judy. Liza stays on the
set a lot now, sitting quietly beside the'
camera, never uttering a word, never;
spoiling a shot, her big black eyes taking!
in all the action. The other day when one'
of the crew said, “Well, Liza, do you want
to be an actress when you grow up?” Liza
shook her head vehemently. “No,” she'
said, “I want to be one now.”

If Lindsay decides to be a part of show
business, it must be strictly her own idea.l
We won’t influence her in any way. But
she has all the symptoms even now and:
has been a real personality since the day
she was born. Candy thinks her big’
sister is simply sensational. She watches1
her all the time and fairly worships her.1
She’s Lindsay’s most adoring fan. Of
course, her mother and father aTe pretty1
strong charter members of the club, too.

Whatever Lindsay decides to be, I hope
she, too, will place motherhood first. All
the Oscars that could encircle the globe
and all the fame and adoration in the
world cannot rival that experience.

The End

The Lion in Lund

( mtinued from page 50) The first time
! attended a play rehearsal he practi-
, [y had to hypnotize himself before he
5 ild even read a line. He lost many jobs
a ore he got them because of covering
1 shyness with such a belligerent man-
r the bosses thought he must not need
,,rk. He suffered the handicaps of all
] se afflicted with timidity. He learned
» ly that, unfortunately, there are no text
Diks marked, “Shyness, Its Cause and
Tre.” Just the slow difficult process of a
in making over his own personality via
i and its constant experience,
ind for John, experience was constant,
r was one of eight children with a Nor-
isgian father and an Irish-American
ijther. The family was comfortably poor.

: didn’t go beyond the ninth grade in
ool in Rochester, but he took quite
nostgrad course picking up pennies as
lioda jerker, ditch digger, bill collector,
nerdasher and construction worker.

t was with much the same thoroughness
e;h which John worked as construction
i iw boss, overseeing the reinforcement
i concrete and steel, that he went to work
i Lund, strengthening this weakest point
I, his own make-up.

I IE prerequisite, John found, was for-
getfulness of self. To concentrate com-
: tely upon the task at hand and forget
; ; impression one might or might not
- ke on others while doing it. To interest
r.tiself in others. Take Lund less serious-
hand other people more so. To recognize
i fact that most people are born a little
iroverted and feel in some measure
jecure. That it’s only when shyness
:nes in large doses that it’s fatal to one’s
: sonality. That he was among friends.

B sy does it. Just relax. . . .

Adolescence really gave him a bad time.
f very good student in grammar school,
)in went through six grades in three
>irs, with the result that he was much
Mnger than his schoolmates in Junior
tgh. “I was always pretending to be
; ler than I was. When the teacher asked
. to give our respective ages aloud, I
ways stuck a couple of years on mine.”
fo prove he was as old and as tough as
;y of them, John adopted a rebellious
[inner and really became a problem child,
f joined the criminal element in school,
It actually criminal, of course,” he
[tends. “They’re all fine citizens now,
li sure. But they were the wilder kids,
li kids who ditched school and such.”

He was always getting into fights,
pmetimes I was a good bluffer,” he says,

; imetimes not.” When he returned to
i nior High after spending a siesta in a
i cation school with tougher kids, he
debrated his new seniority by heckling
L prize school athlete who was working
it on high jumps in the school gym. Get-
ilig little reaction, John finally invited,
ut up your hands!” The boy did. John
lint down for the count. “Every time he
k me, I went down. I never even touched
In,” he laughs now. “I was pretty fresh,
i y, actually, but I acted fresh.”
i He was coming off equally unsuccessfully
ii the romance department, too. He fell
,i love with two girls simultaneously. For
Irther complications, they both lived on
I e same street. Every afternoon he would
s agger down the sidewalk and stand out-
| le their houses, watching for them. “I
, n’t think they liked me at all. In fact
a pretty sure one of them actually dis-
: :ed me,” he grins now. If either girl had

Turn to page 83 for
Photoplay Fashions in Color

Oh, lovely Blonde! My voice I raise,
Your tender, golden charms to praise.

When I am soiled beyond belief,

Your perfume heralds prompt relief.

Beneath your swift and gentle care,

I shun all washday wear and tear.

And when with me you’ve had your way,
I’m cleansed of 'Tattle-Tale-ish' Gray.

All substitutes I now decline,
Dear Blondie, be my Valentine

GOLDEN BAR OR GOLDEN CHIPS

Fels-Naptha

BANISHES "TATTLE-TALE GRAY"

Baby Expecting* a Mother

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ventured out the front door, in all pro! .
bility John would have felt forced to thr r ;
a brick through her front window, to prc >
he had much more serious business the ,
His belligerent attitude in romar* #
backfired the night he semi-proposed j
his vivacious Marie. It was a beauti [ $
night. Loaded with romance. A big ; E-
yeilow moon. They were rowing arou [ ?!’
Prospect Park, John rowing, Marie lea-
ing back, blissfully trailing one hand | i
the water, when he said abruptly, “Wf
don’t we get married?” About-facing ii
mediately with a self-scornful, “I must *
out of my mind!” A speechless Marie, 1
black eyes pinpointing sparks of angii
agreed with him. It was John’s mind a:
he was the one best qualified to know ffi
he were out of it. She let him sweat it o Is
for a year before he got the courage
propose again.

IT WAS while he was working with a co
struction gang that a good friend of h
who had an amateur theater group
Rochester, prevailed upon him in a we;
moment to take a part in “Waiting f
Lefty,” doubly apt title in that he w
also usually waiting for Lund to summi
the courage to show up for rehears;. .
John’s role was “second in command, wi
a big keynote speech to deliver at the enc
The first night he met with the cast for
reading, John was almost paralyzed wi
fright, feeling the others were watchii
i him, that they were criticizing him. T!

next day he told his pal he was resignin
' “I can’t do it and I won’t.” After a couple
beers, he would agree to participate agai :
When he finally got through this play, he
gotten the acting bug. The actual theat<
audiences didn’t throw him, it was tl
knowledge that he didn’t know his jo
Getting hopped up over it wasn’t the ai
swer. There must be an easier way. t
decided the plays were the thing. N-
Lund. He quit worrying about the impre:
sion he was and probably wasn’t makin
and plunged with complete concentratic
into acquiring more know-how of tl
theater. He found out that in attemptir
to learn to walk naturally across a stag -
for example, you walked as stiffly as thoug
moving on stilts. But if, say, you trie
solving an arithmetic problem while walk
ing, you would soon find yourself walkir
very normally and without any self-cor
sciousness. That, as he says now, “tl
farther you can get away from yoursel
from thinking about yourself, the farthe
you stay from shyness.”

Nothing, he insists, can compare fc
grimness with the experience of seein
oneself on the screen for the first tim
“That really demoralized me,” says Johi
with a pained grimace even now recallin
it.

He will never forget the sneak previe'
of “To Each His Own” and neither will an
of the studio personnel who were thei
with him. “You get so self-conscious sit
ting there, watching yourself. It didn
seem like me at all, particularly in th
second part, the Henry Aldrich kind (
role. It was like staring into a mirro
watching your own reflection and know
ing hundreds of others there are lookin
into it with you.”

John wandered out of the theater after
wards in a very unhappy trance. Th
fans, who didn’t know him, rushed fo
Olivia de Havilland and shoved John t
the edge of the street, where he was abov
to be run over by a car when a studi
representative, who was looking wildl
around for him, rescued him. Which Joh
personally felt was a mistake. He though
he had been ultra-repulsive up there o
the screeen. He was quite sure the tri
back to Hollywood in the black hearse
like limousine was his “wake” as a motioi
picture star.

In those early days his pals, trying to
tin ^assure him, offered any solace available,
pit o matter how small. One repeated ver-
ily atim the conversation of two twelve-
ear-old girls he’d sat near in the audience.
*d];)ne of the girls was on John’s team, the
llJtt ther definitely foresaw no future for him.

|,s the picture unreeled, the girls worked
roiij p quite an argument. “I don’t care what
feip ou say, that’s a funny-looking man,” said
’ll the first one. Whereupon his fan said
" jyally, “He ith not! Why do you think
- ittfio?” The other replied, “Well look at
lst|im.” Her opponent was finally whipped
own. “Well, you may be right,” she agreed,
he ith funny-looking but he’th thexy.”

WjPHAT he is sexy or romantic, John would
itt |l never agree to, although now he refrains
?e rom following script writers around beg-
ging them to delete any complimentary
eference to the characters he portrays.
Ie would still prefer playing character
iarts to romantic leads. “Not that the love
cenes bother me,” he grins,” it’s just the
dea of me playing a romantic part.”

His capacity for conversation, his inter-
st in other guests at a party, make him a
ostess’s delight, despite the fact that John
® limself insists he still has a few “demoral-
zing moments” at a large affair. “The
® loise defeats me, just as it does at a night
lub. where you can’t hear yourself talk
nd realize, too late, neither can anyone
lse. You attempt a feeble witticism.
Somebody shouts, ‘What did you say?’ So
‘ 'ou repeat it much louder. This time it
’ ounds even more mundane.”

He admits, too, experiencing that first
.rantic feeling at a large gathering when
1 jne looks for a familiar face to speak to,
Bljan’t find it and hears others making in-
tense conversation around him.

?j Parties, history records, have always
>een the enigma of the shy. In acute cases,
he sufferer plans imaginary conversations
e jefore leaving home, rehearsing lines to go
* Vith different individuals who will be
Vhere. Devastating dialogue which seldom
,?j:omes off anyway, because they never
J pitch the right cues.

■ The cue to solving shyness in the last
? malysis “comes with slowing down, look-
J ng around and realizing you’re among
' riends. That in some respect, fimdamen-
ally, everyone is a little shy. Anyway,
'ou finally get so tired, you just accept
^ourself without worrying any more about
f >ou,” says John. Through forgetfulness of
elf you can eventually become as com-
I ortable as a book end.

Who is to say, too, that the roles one
B Jays in life do not contribute to a shy-
J less cure? Particularly, if it involves un-
? .nasking a Lucretia or engaging in “A
" •’oreign Affair.” Medical journals may
lot mention it. Science may not espouse
e t. But it all adds up to experience.

The End

oCidten when
KATE
SMITH
SPEAKS

15 Minutes with Radio’s charming personality
Noon E. S. T. Monday-Friday

. _ Mutual Stations

Kead KATE SMITH'S COOKING PAGES
In This Month's Radio Mirror Magazine

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Famous hairdressers use and recommend it for
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the real egg contained in powdered form in Richard Hudnut Enriched
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Edito

Camille Gilbert
Jack Force Jr.
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Merchandising Editor

Art Directoi

Photographe

►

Lovely Shelley Winters' s latest film
is Universal-International’s “Take One
False Step”

Newest advance spring note is this
charming print dress designed by Vir-
ginia Spears with a button-up-the-back
butcher-linen jacket. The scarf is de-
tachable and can he worn many ways
and the jacket could be teamed with
a skirt for a change. Also in olive
green, gray or spice-colored print and
matching jacket. Sizes 7-15. $14.95 at
Filene’s, Boston, Mass., and Frost
Bros., San Antonio, Tex.

For store nearest you write direct to
manufacturer on page 87

■ jBsasiSs ,w. •« s » ~*r , ^

Ml \

v. -

f T

A smart marbleized print dress with a
flattering rolled collar and softly
flared skirt. Designed by Winfield in
brown, turquoise or gray rayon crepe.
Sizes 12-20. About $18.00 at Abra-
ham & Straus, Brooklyn, N. Y., and
Hutzler Bros., Baltimore, Md.

Photographed at the new Beverly Carl-
ton in Beverly Hills, Cal.

Even though you’ll wear your
prints right now — a promised
spring isn’t far away — you’ll top
these prints with a fur coat against
winds that will tug and blow at
you for at least a couple of months
to come. The stars have found
that the hat that stays on the head,
even in a gale, is the little skull
cap. And it’s so becoming with
the new short hair, too. This cap
is a wonderful foil for clips, a
flower or your favorite “order pin.”
Speaking of spring, as we do long-
ingly, watch the Empire line in
coats, suits and dresses. It does
wonders for the figure, with the
tight fit starting just below the bust
line and, when you want to be
particularly romantic, an Empire
skirt is lovely teamed with a wide,
bare neckline blouse.

PHOTOPLAY FASHIONS

Go to
print . . .

June Lockhart , the talented young
actress, is next in Eagle Lion’s “The
World and Little Willie”

This pure silk polka dot dress adds a
slimming Empire waistline and little
high collar to make you feel so fashion
right. By Henry Rosenfeld in green,
gray, navy or brown. Sizes 10-18.
$25.00 at Best & Co., New York, N. Y.

For store nearest you write direct to
manufacturer listed on page 87

PHOTOPLAY’S

Claire Trevor s suit designed by
Odette Myrtil for United Artists’ “The
Lucky Stiff”

A chic and practical three-piece suit,
this, for any girl’s wardrobe. The
trouser-type skirt, brief weskit and
easy loose jacket all can be worn
with other parts of your wardrobe.
Team the skirt with sweaters and
other jackets and the weskit with
slacks or as an extra pickup for your
other suits. The jacket makes a per-
fect topper for spring and summer
because the styling is so casually right
over everything. Juilliard has an Ante-
lope suiting for the skirt that tailors
beautifully and their Hobnob tweed,
in the same shade as the Antelope,
would make a charming weskit and
jacket. Blouse pattern included.

Sketches and stores selling Photoplay’s
Pattern see page 87

Odette BMyrtie

designer of Claire Trevor’s suit

in “The Lucky Stiff”

ODETTE M YU TIE, an actress
who “just grew to be a designer,” is a
chic advertisement for her own de-
signs. She feels the key to good taste
lies in individuality, not in merely fol-

lowing the sartorial trends of the day.

Miss Myrtil points out that the new
look has proven to the fashion world
that graceful, feminine lines are more
flattering to nearly every woman. Ac-
cessories and trimming, she feels,
should enhance the general effect, not
detract from it and she stresses a
knowledge of colors, as well as a choice
of materials, as important factors in
choosing a wardrobe.

“Motion pictures serve as the best
mirror for today’s fashions,” she says,
“because they enable women to ob-
serve the latest fashion trends from A
to Z.” So profit from the stars and the
designers whose business it is to keep
you informed.

W fterever Ton Live You Can Buff

mjabAu mb

If the preceding pages do not list stores in your vicinity
where Photoplay Fashions are sold, 'write to the manufac-
turers listed below:

Print Dress with Jacket

Spears-Epstein
lOI West 40th St.

New York, N. Y.

Marbleixed Print Dress

Winfield Dress Co.

1400 Broadway,

New York, N. Y.

Polka Dot Dress

Henry Rosenfeld
498 Seventh Avenue ,

New York, N. Y.

Taffeta Dress

Sigmund Crane
498 Seventh Avenue,

New York, N. Y.

Stores selling Photoplay Patterns

Gimbels

New York, N. Y.

Lit Brothers
Philadelphia, Pa.

The Hecht Company
W ashington, D. C.

Pattern Sketches

i X

and

Ask your shoe man, or write for
the name of your nearest dealer

PETERS SHOE COMPANY, SAINT LOUIS

“Bow Appeal”

(

Cathy Downs is a rising young
star in Allied Artists’ “When a
Man’s a Man”

An important addition to your

new wardrobe is this dress made

in Folker’s supple tissue taffeta

with a “Flying Bow” neckline

and gracefully flared skirt. By

Sigmund Crane in wood-violet,

“scream-red”, navy or gray. Sizes

10-18. $22.95 at Wm. H. Block

Co., Indianapolis, Ind., and H.

Liebes, San Francisco, Cal.

For store nearest you write direct to
manufacturer listed on page 87

photoplay fashions

By Lester Gottlieb

RACHEL AND THE STRANGER:
The quaint folk songs that made this
movie more memorable are in a new
Decca album, well worth having.

PALEFACE: You haven’t really heard
"Buttons and Bows” until you dig
Bob Hope’s version. On the flip-over,
"That’s Not the Knot.” (Capitol)

ONE SUNDAY AFTERNOON:
Buddy Clark (Columbia) handles the
title theme, but I go for "Girls Were
Made to Care for Boys,” especially the
way Gordon MacRae and Jo Stafford
duet it for Capitol.

MY OWN TRUE LOVE: Margaret
Whiting chirps the title song, but it
will probably be the reverse tune, "Far
Away Places,” that will get the juke-
box play. (Capitol)

LAST ROUNDUP: It took "160
Acres” twelve months to make the
grade, but it’s not too late to enjoy
Art Kassel’s Mercury disc.

THE KISSING BANDIT: Frank Sin-
atra has recorded two fine melodies,
"If I Steal a Kiss” and "Senorita”
(Columbia). Andy Russell (Capitol)
and Johnny Johnston (M-G-M) also
have grooved the former tune. Kath-
ryn Grayson, prefers "What’s Wrong
With Me?” and "Love Is Where You
Find It” (M-G-M) while pianist Jack
Fina (M-G-M) gives the rumba beat
to "Siesta.”

DATE WITH JUDY: Carmen Mir-
anda is joined by the Andrews* Sisters
in a Decca platter of "Cuanto Le
Gusta.” Bubbly Jack Smith turns in
a good job on the tune for Capitol.

SO DEAR TO MY HEART: Another
melody from this film is making the
grade. It’s called "What’cha Do with
What You Got” and both the Freddy
Martin (Victor) and Pied Pipers
(Capitol) recordings are top grade.

LATEST ALBUMS: Frankie Carle’s
piano tributes to "Roses in Rhythm”
(Columbia). Frank Sinatra has a new
collection of Christmas Songs (Co-
lumbia). Sammy Kaye bunches to-
gether some of his best ones for Vic-
tor. The M-G-M Orchestra, directed
by Macklin Morrow, plays a series of
melodies by Tchaikovsky.

THE LOVABLE GIRL-OF-THE-MONTH

BRA

es her

Leona Fredericks
S MIAMI BEACH

Dress from Ciro Sportswear

You’ll be lovely , too , in a

Lovable's "sculptured in
satin" Bra gives wonderful
support! Double fabric band
extending from the strap
insures uplift. In rayon satin
with lace insert.

3:945 White and Nude $1.50
[ Also if 955 White Cotton Broadcloth ]

LOVABLE BRASSIERE CO.

358 Fifth Avenue
New York 1 , N. Y.

■

She's Magic

(Continued from page 59) girl with your
nose and my eyes.”

“Okay, hon, Fred said. “She’s a girl!”

Two days later, she actually was and
she did have my eyes and Fred’s nose and
wavy hair. The next thing I noticed after
taking all that in was the doctor asking
me her name. “Jeanette,” I said, for no
reason at all. I certainly didn’t dream that
in 1946 that would be shortened to Janet
and Morrison changed to Leigh and that
my baby would be a movie star.

Right from the day of her birth, Janet
was a good baby. We are still Mommie
and Daddy to her and we still have family
round-table discussions about everything
that concerns all of us. It’s always been
that way. We have never had any secrets
— with one exception. That is the secret
of why she and Stan were divorced — but
that’s getting ahead of my story again.

THE Depression was on during all Janet’s
growing years, and Fred and I had a real
struggle. Just the same, we were always
happy. Since Fred and I had both grown
up around Stockton, we knew a lot of
people and Janet and their kids played
together. She was really an eager beaver.

I don’t know just when she first learned
to swim or dance or any of that. It seems
to me now she always knew. As a matter
of fact, she loved everything except house-
work, though she’d do it. And cooking she
never did have much chance to learn
about. You see, both her father and I
worked, so I arranged for her to go to a
boarding house for a hot meal at lunch
time. She really didn’t learn to cook until
after she got married.

Janet always wanted to be a singer..
She came by that ambition naturally. Fred
sang in the Presbyterian Church choir,
where Janet went to Sunday School.

We really did have a hard time making
ends meet, but since Janet had such a
clear, sweet voice, we did manage voice
and piano lessons for her.

I’ll never forget the time she was ready
to graduate from grammar school. I
wanted to get her a very special gradua-
tion dress but the best I could save out
of our budget was $7.95. We walked all
over Stockton trying to find a pretty out-
fit at that price. We kept seeing dreams

at $9.95 and $11.95 and I kept trying to
figure how I could swing it. Whereupon
Janet balked. “We’ll find a dress for $7.95
or I just won’t graduate,” she said.

Dick was her first important beau. He
was a very handsome boy, but I’ve often
wondered if his attraction for Janet wasn’t
because he was a new boy in town. They
met first at church, and when they dis-
covered they were to be classmates in the
eighth grade, that did it.

Dick was one of the first boys from
Stockton to enlist and to Janet that was
very romantic. She wrote him long let-
ters while he was in camp. When he left,
I must admit I drew a breath of relief. 1
had married very young but, as usual, I
didn’t want her to do the same.

When I talked this over with Janet she
said, “All right, Mommie” — which was
what she said to everything that faintly
resembled an order — except wearing a
coat. She hated coats and I had a mania
about her catching cold. I was always try-
ing to get her into coats, rubbers and hats
and she was always resisting. In fact, she
and Fred have a joke they still pull on me.
Sometimes here in Hollywood when Janet
is all done up, Fred says to her, “Be sure
and wear your two hats.”

You see, when she was around nine and
going to a birthday party, I washed her
hair. She had a sort of little cap she could
pull down over all her hair and I made
her put that on. She had a wide-brimmed
hat and I got so fussy I told her to put
• that on, too. Her father and she have never
stopped laughing about this.

The Christmas season that brought in
Pearl Harbor was the first Christmas that
Janet worked in the dime store during the
holidays, but by the time summer vaca-
tion came, Stockton’s College of the Pacific
was packed with boys in uniform, study-
ing under V-12. So, while her father and
I were very grateful for the addition to
our income, we weren’t too fooled when
she took a store job. That summer of
1942, you see, the store was a haberdashery
and she worked in the military depart-
ment, where the cadets were always
swarming. So no work could have been
more flirtatious. I wouldn’t let Janet date
any 'of those boys alone. When she got to
be sixteen, then she could, I said, but up

until then, those old men of nineteen and
twenty were out. They came down to the
house, though, evenings and Sundays.

During the summer semester of 1944,
when Janet was living at a sorority house,
she first met Stan. He was in the Navy,
at college studying radiology, but he was
working up a musical unit and he picked
Janet to be his singer. Fred and I liked
Stan very much. War hysteria and war ro-
mance was all around the place. So Fred
and I never thought of opposing it when
Janet and Stan told us they wanted to
get married, too.

BY way of giving them our blessing, we
moved out of our house, so they’d have
a place of their own. We decided, once
the ceremony was over, Fred would take
up an offer he’d received from the Sugar
Bowl in California to come up and be
assistant manager. Sugar Bowl is a ski
resort, like Sim Valley, only much smaller.
We knew it would provide us with a very
pleasant place to live, nice people to be
around, and congenial work.

Also, we knew we wouldn’t have much
money left after Janet’s wedding was over,
but we did that up — well, not brown — but
white. Our girl had a white dress and a
finger-tip veil. Her best friend Maggie
was matron-of-honor. Of course, I wept
from the moment Fred walked her up the
aisle right down to the last peal of the
organ. They had a reception, afterwards,
at the sorority house. The kids had a ten-
day honeymoon, then straight back to
school. We promised them that as a Christ-
mas present we’d give them a trip to Sugar
Bowl later.

By the time the holidays approached,
Janet surely needed that vacation. In or-
der to keep up their house, she was taking
in boarders. They were only two uni-
formed college boys, like Stan. But Janet
had to clean house, buy the food, prepare
it, serve it, clean up and then start all
over next day. And keep up her studies.
She even did her own washing between
classes. So it seemed like heaven to us
when Christmas came and Janet and Stan
joined us at Sugar Bowl. Those youngsters
were out from dawn until darkness, learn-
ing to manipulate skis. And one day, wear-
ing an old flying jacket over a little ski
suit, her hair tumbled by the wind, Janet
stood laughing at the club photographer
who grabbed a shot of her. He said he was
going to print it in the Lodge Album we
had for the guests.

Norma Shearer was staying at Sugar
Bowl with her husband, Marty Arrouge.
One evening they were looking through
the Album and saw the picture of Janet.
Miss Shearer asked who she was and when
I said my daughter, she asked if she could
borrow the picture for a few days.

She said she wanted to take the photo-
graph to Hollywood and show it to M-G-M,
but she cautioned us not to mention it to
Janet. “She’s beautiful,” Miss Shearer said,
“but the chances of anything coming of
all this are so terribly slight.”

She lived up to her word — but it was
still entirely by a funny accident that
Janet got her opportunity. Miss Shearer
took the photographs to Mr. Eddie Man-
nix, and he in turn gave them to Lew
Wasserman, head of the mighty agency,
MCA. I guess those two busy gentlemen
did glance at the photographs, but they
are so used to beauty that they certainly
didn’t give more than the quickest look.
However, because Miss Shearer was in-
volved, Mr. Wasserman did take the pic-
tures back to his office and gave them to
one of his assistants, Levis Green. Mr.
Green liked Janet’s pictures so much that

All we want is twenty-five words or less about your favorite star.

If your letter makes the ten best list, you'll receive a personally
autographed picture of that star. So don't delay — take the Photoplay
way to that picture you've always wanted. Send your entries to:

CONTEST EDITOR, PHOTOPLAY, 205 E. 42 ST., N. Y. 17, N. Y.

Last month’s winners were: Caroline Boettcher, Chicago, III.; Wilma Turner, Paris, Ky.;
Evalyn Corslund, Philadelphia, Pa.; Frieda Swarf, Voorburg, The Netherlands; Lawrence
Haga, Wahiawa, Oahu, T. H.; Mrs. Henry Beliveau, Andover, Mass.; Anne Spencer, Golds-
boro, N. C.; Jacqueline Dempsey, Independence, Mo.; Laurine Martin, Wilbur, Wash.; Don
French, Bloomington, Ind.

•

he got busy and put in a phone call to
Janet in Stockton. Meantime Stan, out of
service, had decided the time was ripe to
launch his band. So he and Janet had
come down to Los Angeles. When Mr.
Green’s call reached them, they had
exactly one dollar and some change left.

Janet felt she ought to look formal to
meet a Hollywood agent. She put on her
“good” dress, which was of a sort of rosy
crepe. She felt she ought to have a hat,
but she couldn’t afford to buy one, so she
spent thirty cents for a bunch of purple
flowers, which she arranged around her
hair to look like a hat.

Mr. Green looked at her and said, “I’d
rather you looked like you did in those
photographs. Have you got a little cotton
dress, maybe, and could you wear your
hair just tumbled around your head — no
flowers or hat or anything?”

THAT’S when Janet got her “lucky dress.”

Fred and I had sent her $10 for her birth-
day. The dress she bought cost $10.97,
which took her last cent of change— but
she Wore it back the next day to MCA —
and since then she has been photographed
with Miss Shearer and with Van Johnson
and lots of other people, wearing it.

Janet made her test for M-G-M, August
7, 1946. They signed her the very next day
and told her she was to play the lead op-
posite Van Johnson in “The Romance of
Rosy Ridge.” She was wild with joy, not
only over the opportunity, but because she
was going to play opposite Van, on whom
she had a real movie crush.

Only, right then, the studio told her she
had to go to Santa Cruz on location. Tm
sorry,” Janet said, “but I can’t go.”

They stared at her. “I just can’t go,” she
said. “I can’t afford the train fare.”

The M-G-M people were wonderful.
They didn’t laugh a bit. They just said,
“Look, the studio will pay for it.”

“Thank you,” said Janet firmly, “but it
would be months before I could repay you
and I can’t be under that sort of obliga-
tion.” They finally got it across to her that
studios always pay such costs.

You know the rest, of course. Janet
made “The Romance of Rosy Ridge,” “If
Winter Comes,” “The Hills of Home,”
“Words and Music,” “Act of Violence” and
“Little Women,” in which she plays Meg.
This role she loves because she gets a
chance to sing a little in it.

You know the rest, I say, except why
she and Stan separated. We do know they
parted amicably. We are certain Holly-
wood had nothing to do with it. I think
it probably was like many wartime mar-
riages. Once the hysteria was over, they
discovered they had nothing in common.

Anyway, Fred and Janet and I are back
together again. I keep house. And Janet is
absorbed by the studio and all her lessons
there. She has made close friends with the
Johnsons, June Allyson and Dick Powell
and Elizabeth Taylor and her group. The
latter are the ones she sees most often,
along with Barry Nelson. But usually, she
is just like she was in Stockton — part of a
bunch.

As for her pictures, we have to see them
all at least three times. The first time,
Janet and I always cry. Janet always sobs
at the sad bits, particularly if she herself
is playing them, and I just weep from
happiness. The next time we see the
movie, we manage to see her as herself.
But it’s not until the third time that we
really see the movie and find out what it’s
about. I guess that still makes us very
simple folks. But we’re awfully happy,
which is what really counts.

We still go to church, every Sunday, all
three of us and humbly thank God from
the bottom of our hearts.

The End

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Happy Am I

(Continued from page 41) Bridges, to share
our good news.

That’s our idea of a gala time. A barbe-
cue at the beach, a campfire and the con-
versation of good friends. That time, nobody
said much. But the silence said a lot.

Stretched out on the sand, full of peace
and a quiet happiness, we watched the
breakers come in. To me the far horizon,
the vast expanse of Pacific, seemed to sym-
bolize the freedom of my own future.
Rough water or smooth? Nobody knows
that answer, particularly me. But one
thing sure — I’m happy to have the oppor-
tunity to find out. It’s a stimulating chal-
lenge. Looks like Lady Luck has finally
caught up with me. And about time!

The past months have seen the death
of my mother, my
own hospitalization
with a couple of op-
erations, the linger-
ing controversy with
the studio which
made me tense and
unhappy.

TO keep busy dur-
ing the summer I
played in summer
stock, which provided
a good antidote for
inactivity and made
me feel back in the
swing of things. But
it also kept Betty and
me apart for four
months again. If diffi-
culties were not set-
tled, it looked like
we faced a much
longer separation. For
Broadway and the
stage seemed the
solution for me.

“The Jolson Story”
was the one really
bright spot on my
Hollywood ledger.

Even that was dimmed
by the fact that Betty
then was on the
Broadway stage and
we were separated
most the first year of.
our marriage by our
respective careers.

Admittedly, “The Jolson Story” was a
great break. One I fully appreciated. Yet
one, by my books, I’d fully earned. I
had made thirty-two pictures up to then,
few of which anyone remembers. Fortu-
nately!

My new contract is an equitable deal
for all concerned and a happy compro-
mise. Everybody loses. Everybody wins.
I still make the same money, but that’s
okay with me. My fight was never for
money, but for freedom, which has always
been a golden-weighted word to me. For
it has always been difficult for me to accept
compromise. It is a predominant family
trait which can provoke its more uncom-
fortable moments— as incidents in the
lives of previous Parkses, all fighting Kan-
sans, could well attest. Consider, for ex-
ample, the case of one great-great-aunt
who defied a house-to-house searching
party made by the famous guerilla leader,
William Quantrell. She hid the firearms in
a barrel and calmly stood by her guns until
he’d gone — without finding them.

There have been many — if less grim —
experiences of my own because of this
family trait. Jobs I lost in my early days
in the theater, through my conscientious
convictions about various attitudes, or pos-
sibly the exact angle at which the spear

should be carried on stage. On the home
front, I particularly remember how an un-
compromising stand once cost me my one
and only pair of blue jeans. I have always
been firmly covinced that levis improve
with age. I had one pair, which were
threadbare and sod-worn. To my wife’s
constant plea for me to get at least one
relief pair, I turned unrelenting ears. I
didn’t need any more. I liked those. Then
one afternoon I came upon my mother,
holding the jeans in a firm feminine grip
and Betty cutting them into minute blue
strips, while I stood there, powerless, wit-
nessing their demise and knowing a little
mediation might have saved the day and
the pants.

Yes, thinking realistically, a little com-

Return of a favorite: Larry Parks in “Jolson Sings

promise sometimes goes a long way. I will
admit I approached a sequel to “The Jol-
son Story” with a certain amount of quak-
ing. Any sequel is seldom as successful as
the original. This one had been chosen by
the people as the Number One picture of
the year, as recorded by Photoplay’s
nation-wide year balloting. It was a phe-
nomenal success. Better just leave it lay.

But when I read Sidney Buehman’s
script for “Jolson Sings Again,” I stopped
worrying about the possible merits of this
picture. It’s a far superior script to “The
Jolson Story.” The songs are better, too,
and with better arrangements.

So I’ve confined my worrying now to
this Jayhawker who finds himself in Jol-
son’s shoes — and gloves — again. I don’t
mind admitting I’m a little scaled. This
time I do eighteen songs alone. Each
song must be done differently, but with
the same underlying style. And when
I think of standing out there, spotlighted,
doing so many numbers, I’m really on my
knees.

Nobody realizes better than I, too, that
many skeptics will be laying for me, ready
to say, “That Parks, I told you so. He can’t
repeat.”

It isn’t unusual in our neighborhood to
look up and find some kids standing under

my favorite Chinese Elm by the window
dramatizing a scene from the picture for
my benefit.

The inhabitants of Nichols Canyon must
be Jolson fans. For when I rehearse at
home with records, in order to drown
out my own voice and to recreate the
excitement A1 puts into his songs, the
volume must be upped many times. And,
to date, there have been no complaints,
except by our cats. The volume upsets
them and they stay outside until I’m
through.

Betty has been a swell sport about it.
We have always had a sort of unmentioned
rule about our place that when either of
us is rehearsing, the other pretends not
to be around or to hear. Which is no
simple feat in our
tiny establishment
that shakes as though
suffering an explo-
sion, when I blast
away with Jolson’s
songs.

So it isn’t unusual
when I’ve been work-
ing all day and Betty
has been recording
at M-G-M, for us to
sit in complete si-
lence at the dinner
table, each of us
reading a book. A
stranger walking in
would think us
crazy, but actually
we’re quite content
that way. Betty has
never complained,
but I’m sure I’m
much more fun to live
with now — despite my
tough working sched-
ule and the nightly
serenades she gets of
“Sonny Boy.” And
I’ve promised both of
us if she’ll put up
with me through this
picture, to worry less
and take life easier
from now on.

With our luck look-
Again” up, sometime in the

distant future I’d
like to have a larger
home. A ranch, perhaps. We really need
more room There are thirty-eight trees
on the 50 x 80 lot we have now and they’re
all doing so fine we’ll soon have to chop
our way out the front door. I’m as bad
as a woman is about a new hat, when it
comes to trees. Nothing gives me a “lift”
like buying a new tree. I may go to the
nursery for snapdragons, but you can count
on me coming home with a tree that I
didn’t intend to buy. Someday I hope we’ll
have more room for mw one-man re-
forestation project.

The success of the Jolson sequel is very
important to me. For many reasons. Among
them, the fact that we’re following it with
the first venture of “Lou Mandel Pro-
ductions,” co-starring, we hope, Betty and
me. We’re reading scripts like mad now,
usually averaging two screen treatments a
night at home. On the preferred list is a
comedy or a good action picture. Action
pictures always go. And that’s what we
need to get into business, a picture that
goes.

We may not make the greatest pictures
in the world. But I don’t think they’ll be
the greatest flops. Meanwhile, Jolson sings
again. And for the first time in too long, I
feel like singing, too.

The End

Star in Your Home

( Continued from page 57) looks. Even its
setting is a perfect blend of the modem
and the old. For 'the Young home sits
atop the timeless mountains between
Hollywood and Beverly Hills and in one
direction you get the vast sweep of the
new San Fernando Valley development
and the snow-capped Sierras. In the other
direction you see the tremendous, growing
City of Los Angeles spread out straight to
the eternal Pacific Ocean, sparkling in the
sun. You wouldn’t expect to find a New
England barn in such a setting. That’s what
makes it fun — -and sentimental, too. That’s
why Ida and Collie, as everyone in Holly-
wood calls Ida’s handsome, intelligent
young husband, bought it instantly.

Fun was one reason, that is. There were
several practical reasons, too. For in-
stance, the house is small enough so that
the Youngs knew they could run it with-
out servants, if and when they chose. It
is all on one floor, except for a single,
large bedroom upstairs. It is off a main
road and so high above the dust and fog
belt that it’s a cinch to keep clean. It
provides for a great deal of privacy and
outdoor living, both of which they love.
The upstairs bedroom, furnished more on
the masculine than the feminine side, is
actually a kind of retreat for either of them
when their double working schedules of
their double careers make personal pri-
vacy just a matter of good sense.

THE next “selling point” was that such a
small house would give Ida her chance
to air a hitherto suppressed desire, which
was to be her own interior decorator. The
truth about that is that, primarily, she
wanted to save money. Collie, she knew,
had been collecting early-American an-
tiques for years. She had acquired the
taste from him. She knew the basic colors
they both loved — which are green, rose
(from pink to darkest red) and white.
This color scheme, in various combina-
tions, she used throughout the house. She
and Collie mixed their own paints and did
their own painting. Ida mixed the white-
wash for the fireplace bricks though, while
applying it, she fell off the ladder and
nearly broke her highly expensive neck.

She couldn’t find the right green carpet
to match her walls but, shopping one day,
she came upon a terrific bargain in yellow
carpeting that had faded. She snatched it
at its low price and had it dyed. The first
time it came out chartreuse. The second
time it matched the walls so completely
that, at first glance, the interior looks lim-
pid as the sea, an effect that is emphasized
by the froth of white organdie ruffled cur-
tains at all the windows.

The animation in the colors came in
through Ida’s clever use of the various
rose tones. In her living room, for in-
stance, she used a white-background
chintz with a floral design, shading from
pink almost to mulberry. This chintz
made the valances above the organdie
curtains. Worked out in trapunto em-
broidery, it covered one big wing chair.
On a green upholstered settle opposite the
fireplace, the chintz was used on big, fat
cushions, ruffled in green. Once again it
took a dyeing job to get the settle covering
and the ruffles to match the walls so per-
fectly they seemed to fairly melt into it.

One of Collie’s sentimental treasures is
his own school desk, which his mother sent
them for one of their wedding presents.
One of Ida’s treasures is an early American
prayer chair, high-backed, the seat at
kneeling height. She just happened upon
it one day in the Los Feliz district of Los
Angeles, an “antique section” like the Flea
Market in Paris, or like upper Third Ave-

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nue in New York. She loved the chair,
knew its real worth was twice what it was
priced in a small, dusty little shop but it
also gave her the idea of finding other
low-seated chairs to group around the low
coffee table, thus giving her living room
an air, not of a stiff museum, which too
many early-American rooms sometimes
have, but of charm and warmth.

WITH this idea in mind, she bought gay
things as she came upon them, real
“conversation pieces” in antique furniture,
like an old wicker sewing basket. It was
dusty and dirty when she picked it up for a
very few dollars, but white paint did the
trick. She planted the top, got a real sewing
machine for the bottom. This she used
in her own room, near an old wicker
music stand to which she gave the same
paiint treatment. In her bedroom, she used
white background wall paper, with a green
trellis pattern on which grow red roses.
In Collie’s bedroom, she used another
white background paper, with a kind of
conventionalized snowflake design in
green. Collie got rag carpeting in red,
green and white, but that will be replaced
later when she finds a carpeting bargain
in green broadloom, she hopes.

Now, certainly, such amusing pieces are
not “functional” beyond a point. But that
was the way Ida and Collie wanted them
to be. He had long owned a “dry sink”
of the early American type. Ida found an
old shaving mirror to top it, had the bot-
tom cabinet of it papered, and with the
addition of a couple of shelves, it made a
fine place in his bedroom to store the
scripts he is continually bringing home
from the studio to work on nights.

Really functional furniture wpuldn’t
have created the charm and laughter the
Youngs sought in their house. Contrari-
wise, all their things have some usability.
For example, the cobbler’s storage box in
their living room has been turned into a
magazine rack and the old wooden spatula
that hangs beside the fireplace, they use
for pushing kindling where it will do the
fire the most good.

Both Ida and Collie being “talkers,” the
living room was planned for “conversa-
tion groupings.” Six can easily relax
around the fire, another six or eight
around the settle, two or three on any of
the window seats. Since the dining room
opens off the living room with no doors
between, that easily gets itself incor-
porated into the living room when big
parties are in progress. Reversely, how-
ever, the coziness of the room is such that
it has no empty feeling when merely two
people are alone in it. This is just about
the best trick of home-planning, if you
can do it. Every chair has been placed at
a strategic spot as relates to comfort, light,
ash trays and other chairs. But there are
clear, uncluttered spaces in the middle, so
that there are no traffic hazards either. All
the table tops are also uncluttered, as
regards “objets d’art” or other things that
get in the way of a good time.

You, too, can achieve this same result
by the same method. Just shop and keep
on the prowl for bargains. Don’t be afraid
to use something that hasn’t been used
that way before. Furniture prices today
are too high. But there still are bargains,
if you really look for them. And it is infi-
nitely more fun buying one piece at a
time, when you can afford it, when you
know just the comer you want it for, when
you know you’ll love it, and that it has
been loved by other people in the past,
thaii it is to buy a cold “set” in some store,
whether it is a “set” for a living room, din-
ing room or what have you.

At least, that’s what Ida Lupino Young
thinks — and so do we!

The End

Charming Wendy
Barrie has insur-
ance on beauty

By WENDY BARRIE re-

MARY cently asked us to be on

her “Inside Photoplay”
K-.Trrn^ivT television program, over

FULTON WABD . . . It’s one thing

to be beautiful; another' to
be clever. Wendy is both.
A half-hour program five days a week
keeps her hopping. Yet she has her wits
about her at all times, and always looks
fresh, as though she’d slept around the
clock. She gave much worthwhile beauty
advice.

Jeet *3 Mured 3or $ 10,000

Wendy revealed that her feet are in-
sured for $10,000! She said it’s silly, in a
way, to put such a high value on her feet.
But, she explained, ever since she was a
child, she’s been proud of their beauty, has
taken extra care of them and believes
that’s one reason why she’s never had any
trouble with them. Painful feet reflect a
painful expression on the face and can do
much to spoil an otherwise happy disposi-
tion. As further foot beauty insurance,
Wendy wears comfortable, well-fitting
leather shoes. Even though your feet may
never be insured, if you take a tip from
Wendy and keep your feet in A-l shape,
they can make you “feel Like a million.”
So your toes won’t feel and look cramped,
wear stockings a half-inch longer than
your big toe. Also, she advises, keep your
shoe heels straight. For crooked heels
make you walk off-balance.

3t,

Ooo

lAJendy oCihei

Like other movie stars we’ve inter-
viewed, Wendy says that a little eye-
shadow and mascara will do a lot for the
beauty of your eyes — add sparkle and
make them seem a deeper, truer color . . .
More eyeshadow, she pointed out, may be
used for evening, since artificial lights
“steal” some of the color.

3d ciir dud

de-up

After shampooing her hair, she brushes
it almost dry, then sets it. She agreed that
cream hair dressings are a big help, espe-
cially if your hair lacks natural lustre . . .
She’s frank to admit she gets tired of hav-
ing her hair the same color all the time.
At present she’s a blonde. She suggested
that more timid souls might like using hair
rinses, which wash out with each shampoo,
to bring out natural highlights. There are
make-ups for all types of hair shades, so
she said you shouldn’t have trouble find-
ing the lipstick, rouge, and face powder
that’s most becoming.

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My Most Exciting Story

( Continued from page 49) home away
from Hollywood. It is Bob’s family estate,
Roundhill, Connecticut. During our court-
ship days I had visited there, but now it
was our home together. Now we had been
married four months and Bob had taught
me how to eat snails in Paris and oysters
in London and how to weather a terrible
storm that lasted eighteen hours on a sail-
ing trip to Corsica. Now, too, we knew we
were expecting a child the following April.
So when Bob said, as we drove up the
driveway, “Welcome home, darling,” I
looked around me at Roundhill as if I were
seeing it for the first time. And again I
thought how beautiful it was and how
serene.

The house is a mammoth, graceful Tu-
dor mansion of brick, built by Bob’s fam-
ily twenty-seven years ago. It stands on
a hill. Green lawns sweep downward
from it to a rippling lake with ducks
floating on it and around the house spread
five hundred acres of lovely forests and
streams. That first day, Bob and I vis-
ited everything there, the stables, with
their fourteen riding horses, the bridal
paths that wind everywhere through the
trees, the riding ring, the tennis courts,
the enormous white tile swimming pool
with its charming fountains that play at
one end.

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Story

today

BUT we stayed longest beside the lake,
sitting in the log cabin beside it that was
built for barbecue parties. There Bob
surprised me by warning, “We’ll spend a
lot of time here at the lake in the next
few months, Lana, because I’m going to
make you one of the best fisherwomen in
the world before I’m done!”

Again — how different! To think of me
becoming a star fisherwoman! But I think
I will, at least. Bob says I have a natural
aptitude for it and he’s been teaching me
ever since that day last September. Bob
is, of course, a superb sportsman and I
want to keep up with him. So I’ve been
at the lakeside a lot, practicing casting
and reeling in and I’ve caught a great
many bass and perch. Bob’s also teach-
ing me to shoot. I’ve always been fairly
good at skeet shooting, but Bob is train-
ing me with rifles, pistols — and elephant-
guns! Oh, yes, one of our plans is to go
to Africa, elephant hunting. Bob has al-
ready been on several safaris himself, but
he wants me to go, too. I want to just
as much as he does.

Just from that statement about a hunt-
ing trip in Africa, you can see for yourself
how very different my life has become.
As a matter of fact, it is so different, and
so am I, these days, that I don’t know
where to begin. Take running the house,
for an example. In Hollywood, I never
really ran my own house. My mother ran
it for me and when she moved to an
apartment, she still ran it over the phone
with the help of the cook. I’d say cas-
ually to the cook, as I rushed off to the
studio in the morning, “Just order what-
ever you need for the house and for
Cheryl.” And when any housekeeping
problem came up, I’d telephone Mother
and say, “You figure it out, darling, and
then arrange it all for me.”

But not now. Now, for the first time
in my life, I am running a home. It wasn’t
easy to run the Topping house at first,
either. For Bob’s household had been in
existence for many, many years before I
became a Topping. Street, the butler, has
been there twenty-five years, for instance!
Most of the staff has been there as long
as he has and until a year ago, when
Bob’s mother passed on, she headed the
household. Just to give you an idea of
the magnitude of the house, too, let me

tell you there are twenty-two servants’
rooms (by no means filled, these days!)
and nine enormous master bedrooms. Not
counting Bob’s and my suite.

So you can imagine how I felt when I
arrived back from Europe to face the
complications of such a giant household.
“I’m embarrassed, dear. I feel awkward,
giving directions to a staff of servants who
have been with your family so long,” I
told Bob honestly.

“Just keep trying. You’ll make out,”
he said, grinning.

So I did — and now things are running
very smoothly. But they certainly didn’t
for awhile. My innovations didn’t meet
with any approval at all, at first. Bob and
I decided, since neither of us has any
reason to get up in the morning, it was
foolish to go in for three routine meals
a day.

“We’ve decided we’ll just have two
meals a day,” I told Street. “Please tell
the cook we’d like brunch at noon. And
dinner will be at eight-thirty — and oh,
yes, Street, we won’t take dinner in the
dining room any more. We’d like it on
trays in the smoking room, in front of the
television set.”

That last is what caused the biggest up-
set in the staff. Trays instead of a dining
table! And dinner at eight-thirty instead
of seven-thirty! They were outraged.
Some of them even resigned. But we
stuck to our guns. We had learned to
like a late dinner while we were in
Europe, where nobody eats before eight-
thirty or nine. And we’d learned to like
tray dinners in Hollywood, before we
were married, when Bob would come to
my house to have an early dinner with
|me. At that time, of course, I had to eat
informally and very early because of dawn
risings to act in a picture.

1 NYWAY, now we have our way. And
(though I’m keeping my fingers
crossed!) I think I’m managing all right as
a housekeeper. We get up late to eat a de-
lightful brunch in the breakfast room- -eggs,
sausages, creamed chipped beef, all kinds
of trimmings. And at night we settle into
two great comfortable chairs in the smok-
ing room facing the television set. Street
brings in the first tray with soup, salad
and the main course all on it. And Bob
and I eat, talk, and watch television.
Later on, we read — how we read! We
often sit for two hours straight, reading.
When we go upstairs, we sit up in bed
reading until two or three o’clock in the
morning. Since we both love books, we
recommend them to each other and we
read like chain-smokers — finish one book,
pick up another!

It’s a peaceful life, isn’t it? Completely
different from the confusing life I’ve al-
ways led — but how I love it. Usually we
stay put at Roundhill for two weeks with-
out moving and then reluctantly come into
New York City, only because I have to
see the doctor. We know the baby
will be a boy, named Timothy! I really
do know. I was convinced Cheryl would
be a girl and so she was, and this time I
know we can expect Timothy. If, by
any chance, I’m wrong, we’ve made up a
girl’s name — Tricia — but I am sure we will
be the parents of a son.

Weekends, the quiet of our lives is
broken by eight or ten guests, all East-
erners, none of them connected in any
way with the movies. They come for
dinner Friday night and stay until late
Sunday evening. Saturday afternoons,
they play golf at the nearby golf clubs,
jjl walked around the course with them
until a few weeks back. Now I’m letting
them play alone while I stay home with
i book. After dinner, on Saturdays, we
always show movies in the projection
|jroom, the last movie bill-of-fare being

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an old Western, an equally old Laurel
and Hardy and the films Bob and I
took ourselves in Germany, England, and j
the South of France. We can’t show new
pictures, because we’re limited to 16 mm. I
films. Sundays, we fish in the lake and j
always end the day with a bang-up bar-
becue supper in the lakeside log cabin,
with all hands cooking like mad together.

It’s fun, and again, it’s the opposite of
Hollywood, because none of the conver-
sation ever touches on movies.

That brings me to another reason why
I feel so different from the before-last-
April Lana. Do you realize that I really
grew up in Hollywood and that all I ever
heard discussed was Hollywood shop-talk?
Yet Bob’s favorite story about our Euro-
pean honeymoon is that I not only learned
to talk to people who have no interest in
Hollywood topics, but I even learned to \
talk to a girl who can’t speak English!

Our friend Fred McEvoy’s engaged to
a French girl named Claude Stephanie.
Claude couldn’t speak any English and I
couldn’t speak any French, so Fred and
Bob were worried about how we would
get along all summer in our foursome.

At first, the boys translated back and
forth for us, because they’ve both spoken
French since they were children. But
then they forgot and we girls soon evolved
the craziest language of our own you’ve
ever heard. It was a combination of Span-
ish, French, English and sign-language
that only we could understand and we’d
sit talking it by the hour together.

AS A result, I claim that Europe is not
only broadening, but it teaches you to be
wonderfully adaptable! But to go on i
about the differences in my life these days, i
Do you know that even my maternity
clothes are different from the ones I
bought in California, when Cheryl was on t
the way? In Hollywood, the weather was i
so warm, that all my expectant dresses ■
were summery cottons. But here in the
East, everything is changed. I had to buy :
winter maternity clothes, sophisticated >
ones in dark colors and wools and also I
had to put in a supply of Florida resort
clothes in gay colors, because Bob is tak-
ing me to Miami before the baby comes,
to meet his father. I’ve never met Bob’s
father and I’m looking forward to it. Also,
I’m anxious to see Bob’s yacht, which is
in Florida, too. Our European yacht was
chartered but this one is Bob’s own and -
is called “Snuffy,” after a “Snuffy Smith” j
tattoo on his left arm, that was his good i •
luck emblem during the five years he was i
in the Navy.

I’m sure that anything connected with !
Bob’s good luck emblem is luck for me,
too. As soon as the baby is born, Bob
tells me that we’re going on a three !
months’ fishing trip to the Bahamas, i
aboard the “Snuffy.” It will be after that,
that we’ll go hunting in Tanganyika, Af- :
rica, for lions, rhinos, elephants and leop-
ards! (I still can’t believe this is Lana
Turner talking! I used to think my world
was bounded by Metro-Goldwyn-Mayer
Studios at one end and Beverly Hills at
the other!) j

There is only one cloud in the sky for
me right now. And that is the viciously
false rumor that Bob and I are quarreling,
which appears periodically in various col-
umns. Nothing could be further from the
truth. The worst of it is that sometimes j
I can see how the lies start. One recent
evening, for instance, Bob and I decided
to stay in New York for dinner, after a
trip in to see the doctor. To please me,
we went to the Copacabana night club.

A group of friends were with us and all i
of us loved the singer ... all except Bob.

He was very tired and several times he
said to me, “Darling, let’s go. Let’s start
the drive back to the country.”

Each time I’d answer, “Just a minute,
dear, I want to hear one more song.” Is
that a terrific fight? I don’t think so.
I think that’s the way any couple in the
world talks when one wants to go and the
other wants to stay awhile. But the next
day, all the columns were proclaiming
that Bob and I had indulged in a dread-
ful fight in a public night club! You can
see how maddening this can be and per-
haps it explains why we like our quiet
country life so much.

Actually, the only quarrel we’ve had
was a kidding one caused by our tele-
vision set. One night we were watching
a wrestling match, with Bob rooting for
the villain wrestler and me shouting for
the hero wrestler. We were both yelling
nose-to-nose. And that is a picture of the
Toppings at their absolute worst, be-
lieve me!

I have seen almost nobody from Holly-
wood since I became Mrs. Topping. But
those whom I have met keep surprising
me by saying the same thing: “Lana, how
you have changed! You always used to
be so tense and excited all the time and
now you’re so quietly serene.” I sup-
pose it’s true and I think I know why it
is. Always, until I married Bob, I was
the independent little working girl. I was
the head of the family, the breadwinner,
the one who had to make decisions. Now,
for the first time in my entire life, I have
someone to turn to. I can say, “Bob, what
do you think? Bob, you decide.” And
he does!

I also feel as if, again for the first time
in my life, I have time to really be a wife.
And I can tell you, it’s the most wonderful
feeling in the world.

I’LL tell you something else. Just before
I met Bob, I thought the peak of my
life was over with and all the rest of it
would just be a pleasant, but unexciting,
plateau. I’d had so much, really, so many
things any girl would want and I was
grateful for them. But I’d almost had too
much, so that I was sure I’d never find
anything more that would truly make me
happy.

And then I married Bob Topping and he
opened my eyes to the big exciting world
outside of Hollywood. Our plans are
breath-taking to me. Eventually, we will
sell lovely old Roundhill in Connecticut
and build on the property Bob bought near
Hollywood. But the California home will
just be headquarters for us. We’ll only
be there when I’m making movies. From
now on, I won’t make more than two a
year.

When I’m not acting, we’ll be off like
birds all over the world — to Africa, In-
dia, the South Seas, Indo-China. Bob
has gone around the world every single
year of his life, often on missions for mu-
seums. Now he wants me to see the whole
world, too. And when the children aren’t
in school, we’ll let them come along
'with us.

And I guess we’ll both always be wear-
ing our favorite presents from each other.
Bob will wear the gold four-leaf clover I
gave him during our courtship days, when
I found out we were both Irish and super-
stitious. And I’ll wear the tiny gold and
diamond flies he bought me in Paris, to
remind me, he said, of the mosquitoes in
the South of France!

Yes, for the first time in my whole life,
I am truly happy. As this goes to press,
i there are only a few weeks left before
Christmas and with Christmas, little
Cheryl and my mother will be here with
us at Roundhill. When they are East, my
last ties with Hollywood, for the time
'being, will be gone. And the new life I
am leading will be even more completely
'happy — if that is possible.

The End

WRECKING HER MARRIAGE . . .

because her knowledge about these INTIMATE
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When a young wife doesn’t get off on
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To outsiders, Wanda O’BrieiTs husband was
a big jolly Irishman, laughing and good-
natured, but at home he became a Mr. Hyde,
a snarling wildman who threatened her life
and the safety of their children. Read Wan-
da O’Brien’s very own words as she describes
the tragic events that led to her husband’s

Make Mine Crosby Style

( Continued jrora page 47) comedian, aged
nine, did odd chores. Meanwhile, Bing
would be dictating letters and making
phone calls, and then he’d join me on the
sand patrol.

The kids have no concept of their
father’s wealth. He impresses on them
that he earned it, so it belongs to him,
not them. The idea is, if they want money,
they can earn it, too. He’s a very strict
disciplinarian but he’d grin when we
would be going by in the pick-up truck
and at a distance, we’d see Gary sitting
down at his fence-staking. Gary would
jump up, the moment he heard us coming
and get very busy all of a sudden and
Bing would yell, “Get at it, there.”

But Gary had the laugh on Bing one
night, when his father asked all the boys
if they had written their grandmother
lately. Kid-fashion they hadn’t, of course,
so the orders were to sit down and attack
a post card that moment. They all did.
Gary wrote, “Fishing, hunting and boating
up here. Dad’s having a wonderful time.”

The whole gang dresses alike in jeans
and a shirt — or without a shirt (for
the men, of course). But during the day,
always a hat, because the sun’s so hot.

TRUE

death

in February

Experiences

MAGAZINE

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Also In This Issue:

• My Silver Dream Came True — It was a bleak
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and many other exciting
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25 fact-features for only 25 cents

in February

TRUE

Experiences

GET YOUR COPY TODAY!

ALONG about noon, most of the day’s
work is over and the fun begins. They
have barbecues like the one they had the
day they wanted to christen the boat for
their lake. Bing said if you were going to
christen a boat, you had to crack a bottle
of champagne over it. So we did that little
thing. Bing and I took the boat, via the
car, down the highway to the lake — and
first thing we did was blow a tire.

Other days, we’d go fishing. One day
on the way back we got stuck. We were
driving a big truck and we couldn’t make
it budge. It was five o’clock in the after-
noon. There was a big pheasant dinner
that night, which we were all looking
forward to — and we were twelve miles
away. So we started hiking. The first
ranch we came to didn’t have a phone.
So we hiked to the next ranch — seven
miles. They did have a phone. Bing called
Dixie and told her to go ahead and eat.
We were so close in then, he said, we’d
walk the rest of the way. Just another
five miles, that was all. I let a moan out
of me. Phil and Dennis were along, fresh
as butter, but I said no dice so far as I
was concerned. Fd starve and sleep under
a mesquite bush, if need be, but no more
hiking. Bing howled. I didn’t know that
in some double-talk manner he’d already
told Dixie to send a couple of cowhands
over after us.

Kidding like that delights him. One
afternoon when I decided to go riding, he
brought up what looked like a nice, meek
mount. It wasn’t until I got on that I
found out he was an ex-race horse that
ran like a rock-crusher. When I yelled
what I thought of him and his horse, he
gave me his innocent look. “Why that
horse is just an old rocking chair,” he said.

Bing has steadily improved with suc-
cess. He always was an intelligent, un-
affected, direct guy but today, with all
the demands on his time and patience, he’s
even more unaffected, and has a mighty
mellow understanding. My wife tells me
Dixie adores him, and I’ll chime in and
say that even a man can see they are both
deeply in love.

They’ve got a mighty fancy setup out
in Beverly Hills. They could become the
leaders of “the international set” or any of
that stuff if they wanted to. But they
don’t. Fame and fortune can’t harm a guy
with that much sense. I only wish this
country had a million others like him.
The End

100

TAKES SHAPE

Time out to report on the progress
being made in the search for the
winning last line in the Photoplay
Dream House Contest

rj THESE days of a nation-wide housing
shortage we expected the number of en-
tries to the Photoplay Dream House
i Contest to be tremendous. Not in our
wildest editorial dreams, however, did we
anticipate the deluge of letters we have
received. During the first week the De-
cember Photoplay was on the newsstands
the entries came in on an average of three
thousand a day. This was about what we
had expected. But then, day by day, our
mail increased until we were receiving
many times this number.

At this writing our mail bags are nu-
merous and bulging. Those appointed to
judge the last lines of the jingle are work-
ling night and day, Sundays and holidays.
Otherwise we could not possibly announce
the winner in the April issue.

Entries, of course, have come from all
over the United States. But it’s the citizens
of California, judging by the number of
jntries from this state, who are eager to
win our prize of a completely and beauti-
jully furnished Industry Engineered house.

We know how difficult we are going to
ind it to make the final decision. So many
inspired last lines already have been re-
vived we find ourselves wishing we had a
lundred Dream Houses to give away.

But on this score, rest assured: Every
;ntry will be considered carefully. Several
oanels of judges employed by the Reuben
3. Donnelly Corporation, a judging corpo-
'ation quite independent of Photoplay, will
pass on all entries before the final winner
s chosen. Even then, four special groups of
udges will consider potential winning en-
tries carefully to make sure we have been
air in every way. Wherever you live or
whenever you mailed your contribution—
provided it was before midnight of Decem-
ber 25, 1948 — your entry will receive full
ind impartial consideration.

Will it be you who will be moving into
Photoplay’s Dream House this spring?
jook for the name of the winner in the
April issue — on your newsstand March 11.

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101

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Send free Sampler Package in plain wrapper by return
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(please print plainly)

Copyright 1949. The International Silver Co.. Holmes 8 Edwards Division,
Meriden, Conn. Sold in Canada by: The T. Eaton Co., Ltd. °Reg. U. S. Fat. Off.

Address.

Valentine Story

( Continued from page 38) very far. The
studio had Gene Kelly and Fred Astaire u
under contract and there weren’t many j
dancing parts left over. Day after day, I
Dan kept at his practicing and each day
he’d try to convince his bosses that he
could really dance and act, too. He’d get 1 1
a pat on the back or a grunt and nothing
more.

THEN, one morning on his way out to I
the studio, he stopped suddenly, turned 1
to his wife and said: “I’m through. I’m
not going in today. I’m quitting. I’m all
through with this business. I’m no good
and it’s time we realized it!”

Liz was not surprised. She loved her
husband too much not to know that this i
crisis had to come sometime. She had 1
her speech almost ready.

“Dan, you’re not through because you’re
too good to be through. You’re not giving
up. To give up, with your talent, would
be a crime. All these years you have
worked to make a career for yourself and
to bring fun to people who need it. You
have no right to give up. I won’t let you.
And neither will you.”

She said a lot more. But Dan remembers
those words most. He went to the studio I
that day and when he came home, confi- -
dent now that something had to happen,
there was a very pretty red and white
greeting card waiting for him. It was in the 1
shape of a heart and out of all the words 1
written on it in his sweetheart’s hand-
writing, these stood out:

“I love you — and believe in you.”

That day, which reached its climax ]
when Dan became one of Twentieth Cen-
tury-Fox’s big stars was, of course, St. 1
Valentine’s Day!

I was surprised to discover how many
of my friends have precious souvenirs of j
St. Valentine’s Day which will remind !
them constantly of a special kind of love
and thoughtfulness. Mona Freeman’s is
always around her wrist. It is a gold heart
and key bracelet which her husband, Pat 1
Nerney, gave her on the first St. Valen-
tine’s Day after they were married. “Dear
Mona,” reads the simple inscription on the
heart, “you are my Valentine.”

Jane Wyman’s reminder is a sweater
which she’ll be wearing until it falls to
pieces. For months, little Maureen had 1
been saving her weekly allowance for the
right kind of Valentine present for
Mommy. Came the great day and she

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102

pudly presented to Jane the sweater
vth the red heart. Jane wears it just as
p mdly.

3ut no more proudly than Margo wore
lx first gift from Dane Clark. The
Cirks were broke. Stony broke. They
v re living in a run-down boarding
liise in New York. Dane got occasional
j >s, but they were awfully occasional
ai far between. Sometimes it was a radio
c theater bit and they managed to pay
t: rent and eat enough to keep going.

3ut there was nothing left over, unless
I ne went without lunches. Which is
pit what he did for weeks before Valen-
te’s Day. Nothing could stop him from
p;ting Margo a present — the first — to let
Ir know something of what was going on
i his heart.

Jane had decided on a dress for Margo.
Ee needed a new one desperately. He
li six dollars. This meant exploring the
ct-rate bargain basements. Besides,
Ine had never bought a dress in his life.
I went to work. Margo doesn’t laugh,
e ;n now, when she tells about it:

‘Maybe, some husbands can choose
c ;sses for their wives. But Dane has
iwer been very good at it. And this
c v was his first — and his worst.

‘That was some dress. Its lines were
ily, it had cheap frills all over it and it
vs a ghastly shade of red.

‘Dane handed me the package so gin-
ply and with such a look of love and
Eticipation in his eyes. My hands trem-
Ipd a little as I untied the string.

‘I put the dress on. Then I looked in
t: mirror. It didn’t fit. It was wrong,
e wrong. But then I looked into a dif-
f ent kind of mirror. I looked at Dane’s
p ased face and a St. Valentine’s miracle
1 opened. I saw myself and the dress as
I ne saw them. And, in his eyes, I was
lautiful — and the dress was lovely.”

1JT all the memories are as sentimental
and touching as the Clarks’s. One of the
Emiest scenes to imagine is that which
b Guy Madison and Gail Russell as its
srs. They were spending sweethearts’
By together as they should. Sitting on
( il’s sofa, they were dreamy. Guy’s
vice was dreamy, too. He was saying all
t)se things that have been said several
tmsand times before and still manage
t sound perfectly brand-new. Suddenly,
C il felt something cold and damp on her
c^ek. And Guy felt something cold and
cmp on his cheek. It was Gail’s cocker
smiel who had stuck his head between
birs. Their hysterical laughter ended
Mat once had all the earmarks of their
r >st sentimental moment together.

Ssther Williams and Ben Gage have
tfir precious souvenir, too. It doesn’t
lik very sentimental but it holds mem-
c es and thoughts that nothing else can
£2r bring them. It is the simple box of
e radio-phonograph combination.

Usther and Ben fell in love during the
vr. They loved doing the same things,
bed listening to music together. Esther,
facially, liked to hear Ben singing to
lr, the songs he’d recorded when he was
Eradio singer not yet in uniform.

• It was not always easy for Ben to get
live. He was a sergeant belonging to
t; Army, not Esther Williams. Then she
td him once how dreadfully she missed
In, how she’d settle even for the sound
c his voice. A sergeant’s pay was not a
bury salary. But on St. Valentine’s
by, a beautifully done up package ar-
i ed for Esther. It was a radio-phono-
|iph; complete with the records he had
ride.

: Esther and Ben were married the fol-
I ving November and that radio-phono-
faph is still a very important part of
it fir home. But the Gage records, to tell
t; truth, have worn a little thin.

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Irene Dunne is nostalgic about this
holiday. She remembers, and I don’t
blame her, when she was a high school
freshman in Louisville, Kentucky. Local
custom always had the boys placing their
Valentines on the doorsteps of the girls
they liked best. And, of course, the girls
always peeked out from behind the cur-
tains to see which beaus left Valentines.
As Irene watched, two boys came up a^
the same time, from different directions.
One placed his Valentine on the doorstep.
The other kicked it away. Finally, the
two boys dropped their Valentines and
went at each other.

The fight was at its thickest when
Irene heard a knock on the back door.
She left her ringside seat long enough to
open the door. Standing proudly, with
his Valentine tucked securely under his
arm, was a third suitor for the hand of
little Miss Dunne. She left the battlers
on the front lawn as she and her gallant,
unscathed escort wandered off for a soda.
It was a wonderful soda, too, she says.

AND now I think I should tell you what
St. Valentine’s Day means to me. It means
a great deal. It means my son Timothy.

When Dick Quine and I were first
married we wanted, more than anything
else, a family. But then I had my accident
and we decided to adopt the children we
longed for so desperately. We filed our
application with a good home which would
decide if we were eligible. We waited for
weeks, trembling with anxiety for the
decision. Would we pass? Would we be
considered good enough to give a home to
a precious, new life?

Then it was St. Valentine’s Day. We
were home. We were happy but we were
aware of the great emptiness in our lives
and we prayed for it to be filled. The
phone rang and my entire life was to
change with that ring. It was the agency
to which we had applied for a baby. And
the voice said simply:

“Congratulations. We have found you
eligible and will give you the first baby
that is available.”

So Timmy became my St. Valentine’s
gift. When the agency called and said
the baby was ready for us, I was so
panicky, I couldn’t even go for him. Dick
and a friend of ours drove to the Home.

When Dick carried him into the house,
holding him so gingerly, my tears mixed
with laughter. There was Timothy with
one shoe on, one shoe off. He looked, with
his tremendous blue eyes and mop of black
hair, as if he were older than his nine
days. I took him into my arms. Holding
him tight, I said, over and over to myself:

“You will be my St. Valentine’s Day
present every day of my life.”

The End

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104

VWWWWWVWVWWWVVWVWWWWVVI

How to Keep
Marriage Romantic

Continued from page 43) Hundreds of
uch people, it now seems to me, swarmed
n me three years ago after Paul and I
Ivere married. They said that all the
ovely moods Paul and I were sharing
/ould gradually vanish a year or so after
ur wedding. It was sad, they said, but
i time, companionship would take their
dace. Now I know such an attitude is just
kind of giving-in, not fighting hard
nough for a happiness that is one of the
reatest in the world.

i The first time I ever saw Paul Brink-
man, I thought he was just about the
andsomest man I had ever met. His
manners impressed me, too. The next
|me we met, I admired his ability to make
riends easily and, what’s more, to keep
lem. I loved his skill at conversation,
nd the way he likes almost everyone.

I’m not that way. I’m shy. I make only
few friends, and I’m a dreamer who hates
re practical side of almost everything.
Yet, in important matters, I soon learned
|aul and I were very much alike. Our
amily backgrounds are much the same,
/e had both been brought up conserva-
vely, Paul in San Francisco, I in and
jbout Los Angeles. Our religion is the
ime. So are our political convictions,
/e both wanted a home and lots of chil-
dren and our ideas about their upbring-
jig were identical.

iHESE things we found out about our-
selves in the two years we went together,
tie last one of which we were engaged,
nere’s where the companionship comes
1, I think. If, during a fairly long court-
up and engagement, you discover you are
•uly friends, you start marriage on a very
hid basis, which, I believe, is most im-
ortant for the maintenance of romance.
That’s the way we started — even if we
idn’t have a roof of our own over our
eads. First we lived in a house a friend
>aned us He was out of town, but the
loment he got back, we had to leave.

; liter that, it was grabbing whatever we
, juld get. We moved every few months,
seemed. By the time our first half year
ad passed, we were expecting baby Paul,
■/hen we finally found an almost-perma-
jent apartment it seemed like heaven,
|jven if it was miles away from my studio
Ind Paul’s radio business.

Planning for the baby, we began to
>ad up the apartment so with a bassinet,
igh chair and baby clothes that the over-
ow spilled out of the one closet and on
) all the chairs so thoroughly that we
ad no place to sit except on the bed.
/hen we started building our own home,
re got into all sorts of difficulties. We
loved in before we had furniture. We are
ist now building the nursery that we
leant to have for our first child. It will
e ready just in time for our second.

Yet our romance not only continued, but
rew and grew. Why? Well, one thing
ras that we were never on a fifty-fifty
asis. We operated on the seventy-five-
?venty-five basis. All the psychology
ooks and the psychology professors say
rat the success of a marriage is much
|iore up to the girl than the man. I be-
eve that, and I was prepared to live up
i it. But Paul refused to believe it. He
worked on the principle that the success
f our marriage was just as much up to
im. When two people are not only will-
lg but eager to meet each other much
lore than half way on any problem, the
.roblem just doesn’t get going.

Paul and I had talked out every impor-
ant angle of marriage before we entered
ito it, and one thing was very, very clear
a us. That was that we weren’t planning

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for one year, or five, or ten. We were
planning for our whole lives. Therefore,
we never expected the first year to be the
best year. We expected it to be the hard-
est year — and by that, we meant the one
in which we would try hardest to make
one another most happy.

Paul has a wonderful mechanical mind.
When we couldn’t get a bid on building
our house, which was within our budget,
Paul decided to be his own contractor.
When we couldn’t get a gardener, Paul
also determined to be his own nursery-
man and gardener. Such phrases as elec-
trical installations, water systems and the
like were merely words in the dictionary
to me. On the other hand, all the books
on art and music which I read were pretty
much phrases to Paul.

In our first year of marriage, I made
myself study mechanics, electronics and
the like. Paul began reading my art books.
His interests opened up a whole new
world to me. Mine opened up one to him.
Or maybe I might more truthfully say,
we went together into two exciting
worlds.

Maybe you say that’s not romantic. I
think you are wrong, but I’ll give you
another example of this same thing, that
is romantic in the more usual way.

Paul decided, since he was contracting
it, we could afford a small swimming pool.
Our very modern house is built with two
wide wings (one containing our bedroom
and the other the kitchen) set at angles
to our big “master” room which is a com-
bined living room, dining room and
library. This means every room shares
our truly breath-taking view. Before the
house, is a sweep of lawn. Paul set our
kidney-shaped swimming pool smack in
the center of that lawn space.

Since we both work, we seldom get time
to go swimming by daylight, except on
Sundays, but that never stops us. We go
night-swimming. I tell you it is just per-
fect when we wake up in the night and
see the pool by moonlight. Our bedroom
windows, running from floor to ceiling,
also serve as doors. We hop out of bed.
We plunge into the pool, swim a fast
fifteen minutes, pop out again and back

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to sleep. It couldn’t be more romantic.
However, it wouldn’t be half so romantic to
me as it is now if I didn’t understand about
the gunite used in building the pool, or
the underwater lighting system I watched
being installed. Once I wouldn’t have had
these plus values. And I’m sure Paul gets
more appreciation, too, of the contrast of
the delicate flagstone colors against the
water, and the value of the blue-green
shadows than he ever did before he read
my art books.

I believe it is learning to appreciate
more and more things all the time that
makes life continually exciting. You don’t
get in a rut. You are never bored. There
is romance in everything, once you find
out where to look for it.

It was fun when I came to realize that
Paul’s eternal lateness was due to his
trying to accomplish too much every day.
He had to tolerate my procrastinating be-
cause I go “pink clouding,” as he calls it.
One day he said to me, “Do you realize
that pink clouds, even, don’t just happen?
There’s a weather reason why they appear
and why they evaporate.” That really
helped me come down to earth more than
anything. Similarly, he’s discovering if
he tries to crowd ten hours into eight, he
loses time instead of saving it. So he’s
gradually straightening out there.

THAT’S really what I mean by the sev-
enty-five-seventy-five basis. If always
you want to give more than you expect to
get, then you’ve got a plus value in the
middle that makes your whole life sing.
You don’t have to ask one another to
“forgive” even the most trivial thing. The
forgiveness is always there.

For instance, Paul had to be very under-
standing during the making of my latest
picture, “The Fan.” I was carrying this
newest baby, but on the set I had to wear
old-fashioned corsets and it was an awful
strain. I tried hard not to let the day’s
mood of the picture carry over into my
private life, yet I had a mood to sustain
on the set, and it was difficult to just cut
it off at six o’clock. It wasn’t until the
heaviest-working days were over, that I
became aware that during these, Paul had
worked extra late. He always phoned me,
and was thoughtful and attentive, but he
wasn’t home till seven, giving me time to
come back to myself.

I’m paying him back by telling him to
go on a hunting trip as soon as I get home
from the hospital with the new baby. And
that, I assure you, is a real concession on
my part. Even when I have to go on
location, unless Paul arranges his busi-
ness so he can go with me, I suffer. I’m
awful. I love to travel — but not alone.
I never went away to school. Hotels de-
press me and I’m strictly a family type.
I feel lost if Paul is not near.

But Paul is an outdoor man and he has
always hunted. However, because I felt
so very sentimental about animals, he
hasn’t once gone hunting since we were
married. Now he’s made hunting sound
so logical, I’ve given in. He points out
the statistics that every year thousands
of animals are destroyed by disease, fire
and accidents, so why shouldn’t he shoot
just one deer or bear? I doubt if I’ll ever
get myself to the point where I can shoot
anything, but at least I am learning to
handle a gun. I’m learning skeet shooting
and beginning to be a pretty fair type of
outdoor girl.

You see how it is with us? We never
have a dull moment. Married romance, I
know now, isn’t walking around with your
head in the pink clouds.

It is giving and sharing and working to
make every day better than yesterday,
which was as nearly perfect as humanly
possible, anyhow.

The End

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Penny Antics

( Continued from page 37) “Let’s Live a
Little,” Hedy not only snagged $200,000.00
plus twenty per cent of the profits, but she
imported the material for her dresses, sold
the material to Bob and then kept the en-
sembles when the picture was finished!

Sinatra and Lawford were dining to-
gether at Romanoff’s. Came the time to go.
“Waiter, the check,” called Frankie. Peter
put his hand in his pocket. Frankie near-
ly fainted, but recovered when Pete merely
pulled out his handkerchief.

Victor Mature and Bob Montgomery
are famous in Hollywood circles for be-
lieving that cigarettes are something the
other guy, or gal, carries. When either of
them are spotted entering a studio gate,
there is a one minute stoppage of work
while everyone hides cigarettes. A secre-
tary once asked Robert, “Why don’t you
buy your own?” He looked sheepish for
a second and then said brightly — “They
bulge too much in the pocket!”

The most famous of Mature’s saving
tactics happened downtown in Los Angeles
when he was working in “The Cry of
the City.” On location it is the custom of
all the studios to pay for the meals of the
players. But Los Angeles is apparently
not considered location. Vic reported
early on the scene to have breakfast in a
nearby cafe. When he received the bill,
he blithely handed it to the assistant
director to pay for him. “Sorry, you’re on
your own,” he was told. “You think so,”
grinned Vic who is as fast with his think-
ing as he is slow at spending. And he
made a deal with the cafe proprietor to
wash dishes in payment of his bill!

Paulette Goddard had a wonderful idea.
Why not crown the woman who cleaned
her dressing room at Paramount, “Star
For A Day,” for sweet publicity of
course. She would be photographed lunch-
ing with Paulette, wearing one of Pau-
lette’s beautiful gowns, having her hair
dressed by Paulette’s own hairdresser, etc.
The cleaning woman thought it was a swell
idea, too. “But who will pay me my $10
for the wasted day?” she wanted to know.
Paulette passed the buck — all ten of
them to the publicity department. They
passed them all back to Paulette. She
passed period. And the cleaning woman
has still to be crowned “Star For A Day.”

The only time Cornel Wilde does some-
thing for nothing is when he spends time
helping wife Pat Knight in her movie
career. Otherwise he wants a hundred
and fifty cents on every dollar. When he
went to Honolulu recently with Pat, he
paid for the passage by posing for adver-
tising layouts for the steamship line.

No one could ever call Joan Crawford
a miser with her money. She gives more
to charity than most rich stars in Holly-
wood, but Joan has her mad moments of
economy, shall we say — usually after pay-
ing her income tax. Following the tax
payment of last March, Joan decided to
cut her living expenses by cutting lunch
for herself and her secretary.

Cary Grant can be quite generous. He
gave $250,000 at a time to the Red Cross
during the war. And recently, when a

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friend admired a shirt he was wearing,
Cary did better than giving him the shirt
off his back He ordered three replicas,
and sent them to his pal. But when it
comes to buying his own hats, Cary trots
down to a wholesaler in Los Angeles and
takes ten lids at a time, for that way he
saves maybe five dollars each!

It may be coincidence, but Errol Flynn
rarely seems to be ill on his own time.
During “Montana” Errol suddenly decided
he must have a minor operation on a cer-
tain part of his anatomy. He almost got
stuck with it when the insurance company
put a limit on the time it would foot the
bill for the closed production. And instead
of four weeks, Errol got only ten days off
with pay.

Rudy Vallee still has the first three
million dollars he made twenty years ago.
But to hear him talk, you would think he
was walking up the hill to the poorhouse.
During his recent mad courtship of Betty
Ann Nyberg, Rudy surprised his closest
pals by giving the girl a ring — his Yale
ring. But even so, it must have cost him
something, once.

Joel McCrea is Scotch by inheritance
and ditto by inclination. For years his
wife Frances Dee begged him for a swim-
ming pool. Finally Joel broke down,
spent a few dollars on some chicken wire
and with the help of some free dirt, built
the darned thing himself! The ranch on
which Joel now lives with his wife and
two sons, incidentally, nets him around
$15,000 a year.

When McCrea was a kid, he sold news-
papers on Hollywood Boulevard and de-
livered them in person to producers and
stars. He ended playing a juvenile in a
Will Rogers picture. It was Will who is
supposed to have advised Joel — “Save two
cents out of every nickel and you’ll be
rich.” Joel really took the advice to
heart, and he’s a rich man today.

Of course, they don’t all pinch and save
pennies. Lana Turner for example, is
lavish and generous, to the embarrass-
ment of her checking account. Frank
Sinatra spends and spends. Bing Crosby
gives more presents to people than any
two millionaires together. And Ann
Sheridan would give you the mink off her
back, if she thought you really needed it.

But by and large, the Hollywood of
today is thrifty. It rents or borrows hats
and furs instead of buying them — you
can hire any hat for $5.00. It might cost
you $50 a night for a good fur. The
wealthiest girls use their personal ward-
robes for publicity stills— then deduct the
price of the clothes from income tax.

And you know something— I think
they’re right!

The End

who could ask for anything MOORE?
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Love Affair

( Continued from page 34) Lea Padovani
with whom he is very much in love, only
to find Rita off with Prince Aly.

In Paris this summer, where I saw Rita
while she was convalescing from an oper-
ation so serious that blood transfusions
were necessary, her thoughts were with
Orson. She respects him mentally more
than any man she has ever known. Also,
about her forthcoming divorce from Orson,
she seemed a little sad.

However, she admitted she was disap-
pointed over “Lady from Shanghai.” This,
you will remember, was the picture she
and Orson made in Mexico, following their
reconciliation, when Rita was still in love
with him and still convinced he was a
genius. She had, therefore, thrown her-
self into this picture wholeheartedly,
hoping for great things.

Orson, of course, has a casual disregard
for most movie producers, including Harry
Cohn of Columbia. Need I add that the
producers do not find this attitude endear-
ing. However, because of Rita, Harry Cohn
gave Orson whatever he wanted. But the
picture was not a success, a fact which I
feel influenced the differences that led
to their divorce.

IT WAS at a dinner I gave at the opening
of the Cannes Casino that Rita and
Prince Aly met. I should have placed a
French woman to the right of the Prince
but I chose to seat Rita there, instead. Im-
mediately, there was a spark between them.
This, in spite of the fact that Rita was not
well-dressed when she was on the Riviera
this summer. Not once did she have the
new look. Neither was there anything
festive or gay about her appearance. Gen-
erally, she wore black or dark green. But
she was beautiful, if not chic. And her
manners were as perfect as always.

After dinner, when I did not see Rita or
Prince Aly, I thought nothing of it. I ex-
pected him to disappear into the gambling
rooms. And he was, I knew, leaving at
midnight, to fly by private airplane to Ire-
land for the Irish sweepstakes. He won
them with his horse, Attu, the same horse
he brought over here in October to race
at Belmont.

The next day, however, Rita called me.
“What happened?” I asked.

Rita laughed. “He put on the usual act.
I was taken up to the top of the Californee
(the observatory which sits on top of
Cannes highest mountain) to see the stars.”

“Well,” I said, “Prince Aly had the best
star . . .”

“He said so, of course,” she answered,
with gentle amusement.

Previous to this dinner, Rita had seen
Orson. He had come to Cannes and they
had spent some time together. Rita, I think,
came to Cannes because it is Orson’s
stamping ground. Perhaps she hoped they
might patch up their differences.

Their daughter, Rebecca, always will be
a bond between them. Rita’s love for her
is great. And Orson adores her more and
more, now that she grows to be like him,
stands before a mirror and postures and
orates, an Orson Welles in miniature. How-
ever, he is also a loving father to Christo-
pher, his daughter by his first marriage,
Chris, by the way, plays the Macduff
child in Orson’s harshly criticized “Mac-
beth.” If Rita would not mind, he says, he
would like to try out Rebecca as a Shakes-
pearean actress when she is a little older.

I told him, “Knowing your little girl, I’ll
wager, Orson, that she will outdo you in
Shakespeare.”

And he had the grace to laugh.

When Orson left Cannes, Rita did not
seem to know what to do. She is a very
modest, simple creature and I was about

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the only person she saw. So, on July
fourteenth, Bastile Day, when there was a
fete at the little village of Auribeau and
the Mayor asked me to be a guest of honor
and bring my friends, I asked Rita to join
Mrs. Dickie Gordon; Freddie Brisson, Roz
Russell’s husband; Lily Pons and Andre
Kostelanetz.

Auribeau, where my farm is located, is
a tiny out-of-the-way village. The vil-
lagers knew Lily, of course, for she was
born in nearby Cannes. But the reception
for Rita was staggering. She had to sign
autographs until I thought we would go
mad.

“How is it possible,” she asked, “that they
know me in this little place? Could they
have seen my pictures?”

“Ask this lad,” I suggested, as a school-
boy of about sixteen approached us.

“Of course, I have seen your pictures,
Miss Hayworth,” he answered. “I have
seen ‘Lady from Shanghai’ and ‘Gilda.’ ”

Rita was so humble about it, so pleased.
Little things give her great joy. Yet, in
her own way, she is very clever. Holly-
wood citizens will tell you she is no mental
giant and it is true that she is not a great
intellect. But in her feminine way, she
manages very well indeed. I know of no
other star who has maneuvered a more
advantageous contract. Her guaranteed
salary is large. Besides, both she and her
little girl share in the profits of the movies
made under her banner, the Beckworth
Productions. The money Rebecca receives
goes into a trust fund. Taxes are deducted,
of course. But they are far, far less than
they would be if all the profits went to
Rita. For then she would be in such a high
bracket that the taxes would leave very
little to invest for Rebecca.

ANOTHER thing, for all Rita’s unpreten-
tiousness and simplicity, in a charming,
feminine way, she is predatory where
men, as well as security, are concerned.
If she likes a man, she lets him know
it, phones him — quite honestly explains
she wants to go here or there and
would like him to take her. She did this
with Victor Mature, with Tony Martin,
with Orson Welles. Whether in the be-
ginning she did it with Prince Aly, I cannot
say. But soon enough after I introduced
them, I heard rumors of a romance. Rita
and her secretary, the rumors said, were
house-guests at Prince Aly’s beautiful villa
. . . were motoring with him through Spain
— while Orson stormed in Cannes . . .

When I heard about Spain, I thought,
“Aha, this is more serious than usual!”
For when Prince Aly is truly interested in
a girl, he always takes her motoring
through Spain. Never before, however,
had I known him to be interested in any-
one of the screen or theater. Usually, his
guests had been beautiful girls or women
from society. After all, people from the
movies or theater have never come within
his orbit. Not that he is a snob. Snobbery
is only for the insecure.

This much I do know. When Rita re-
turned to California and Prince Aly re-
mained in France, many long distance calls
came through from Brentwood, where she
lives. Undoubtedly, some of those calls
concerned plans for his Hollywood visit.

Obviously, whatever Rita’s original in-
tention about Prince Aly, she became more
and more intrigued with him. Naturally
enough. For Prince Aly, of whom I am
very fond, is thirty-six years old and will
probably be one of the richest young men
in the world. Never would he be guilty of
a temperamental row. His only desire is to
give happiness and pleasure to the lady of
his choice. He is good-looking, has a quick
wit, is romantic and gay and such an in-
defatigable dancer that he even drags me
around the floor. He also has great
artistic appreciation. Coming to love mod-

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ern paintings, he has collected many beau-
tiful canvases by Degas, Cezanne and Dufy,
among others, which he has arranged most
beautifully in his Cannes villa. Perhaps he
inherits this sense from his mother, who
was an Italian and whom he adored.

One day last summer, when I was lunch-
ing with him at his villa, a great truck
drove up and the men began to unload a
heroic gilded statue. “That is a Bourdelle
— the wrestler!” I exclaimed.

He smiled. “My mother left it for me.
Until now I have had no proper place for
it. I am going to have it set up on the ter-
race so it can be seen from the sea . . .”

He is a very charming beau, I should
imagine. Certainly he provides all the
romantic things that most men, especially
movie stars, fail to provide. They do not
have the leisure.

The other day, a gift came from him, a
beautiful little gold box set with tiny
rubies. And when I press the ruby catch,
the cover slides back and a little gold
watch pops up to tell me the time. “Elsa
dear,” he wrote on the card, “I am so fond
of you and this will remind you of my
friendship longer than red roses.”

However, Prince Aly is neither partial to
publicity nor skilled in avoiding it. Other-
wise he and Rita never would have acted
so naively, pretending it was by the merest
chance that they traveled on the same
plane. They really did not expect anyone
to believe this, I am sure. They simply
were unequal to the photographers and re-
porters who rushed, pell-mell, at them.

RITA has always shunned the limelight. I
ft have never known her to seek publicity,
as so many stars do. She has to have a
certain amount of it, of course, because of
the role she plays in the movie world. But,
except for her romances and marriages
which have plummeted her onto front
pages, she is most retiring. Prince Aly, in
turn, has always enjoyed the courtesy that
the European press extends royalty. When
he travels, he is the official representative
of his father. When he is in England, for
instance, he sees the King and Queen, goes
to Court and is congratulated by members
of the royal family when his horse wins
at the races.

I warned him what would happen when
he came to New York in October.

“Why be involved in a romance with
Rita?” I said to him. “It is sure to reach
the papers and it will not benefit you. You,
after all, have a great responsibility. I
hope your dear father, the Aga Khan will
enjoy a long life. But you, as his heir, will
one day control a tremendous fortune.
You will also one day become the spiritual
leader of some eighty million Ismaili
Moslems who, every year will present you
with your weight in gold, silver and
precious jewels.”

Prince Aly smiled. “You remind me, Elsa,
that I must put on some flesh or I will not
do as well as my father. And that would
be unfair to the poor to whom that yearly
gift goes.”

But I would not be put oft with his
charm. “Why go to Hollywood,” I per-
sisted. “It is not your cup of tea!”

“I have to go there,” he told me, serious-
ly, “because Rita has to make another
picture.”

“What is her attitude?” I pressed.

“She would love to join me in Europe, ”
he said, “but since she has this obligation
to make a picture, I must not influence
her. What she does must be her decision.
I did not, at first, realize what a very im-
portant position she occupies in the motion
picture world.”

“I kept telling you about her position,
my dear,” I reminded him. “She is one of
the three greatest glamour girls of the
times!”

The first time Prince Alv visited Rita,

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they managed to avoid publicity. He was
there only a short time and a house had
been rented for him, without his name ever
appearing in the transaction.

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to race his horse, Attu — he talked of flying
back to France the moment the Belmont
season was over. While he was in New
York. I gave a party for him. “I want to
have a dinner and see ‘Joan of Arc,’ ” he
told me. So I arranged it. But many times
before the dinner he called me. “Elsa, I
hope you do not mind, I have asked Liz
Whitney and her husband.” Then, “Elsa, I
hope you do not mind, I have asked Dolly
O’Brien Dorelis.” “Elsa, I hope you do not
mind, I have asked Doris Duke.”

“What about men?” I asked.

“Oh,” he said, “ you get the men!”

I did, too — Valentin Parera, who was
married to Grace Moore, Charles Bow='-
and several other charming gentlemen.
But it was Prince Aly who saw me home.

I asked if he planned to marry Rita.

“Elsa,” he said. “I adore pretty women
and I think Rita is one of the prettiest and
one of the nicest I have ever known. How-
ever, I prefer to live as I am now . . .”

He is, I know, tond of his delightful
English wife, Joan. He is devoted to his
two sons, Kharim, twelve years old, and
Amyon, eleven years old, who spend six
months each year with him.

However, since I talked to Prince Aly,
his father, the Aga Khan, has loaned six
million dollars to the Eagle Lion Studios.
This could be an out-and-out business deal
since, in return, he receives the distribu-
tion rights of the movies from these studios
for several European countries. Or, it
could be a father’s way of providing his
son with an important position in the world
where his heart holds him.

Also, Rita has been suspended by her
studio because, up until the time Prince
Aly left Hollywood, she refused to be sepa-
rated from him by her work — would not
report for “Lona Hanson” which was ready
to go into production. Hollywood has
speculated upon the manner in which Rita
has jeopardized her career — even wondered
if she meant to marry and retire from the
screen.

Prince Aly, of course, as a Moslem, can
take more than one wife. But would he
wish to do this, considering the fact that
only in his own land would more than one
wife be recognized?

And would Rita be willing to accept any
such state of affairs?

On both scores I doubt it.

The End

Rita’s daughter Rebecca — Orson in
miniature when she postures and orates

Romantic

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PHOTOPLAY

Contents for March , 1949

HIGHLIGHTS

Honoring Fred R. Sam mis

Announcing the Gold Medal Winners

He’s a Good Man to Have Around (Bob Hope) . . Dolores Hope

Return of the Torso Herb Howe

Liz Taylor Goes Home

Sunny Side Up (June Allyson) . Diane Scott

They’ve Had to Take It (Van Johnson) . Louella O. Parsons

Alias Bette Davis Michael Maury

Home Sweet Hollywood Elsa Maxwell

Belvedere’s Still Sitting Pretty

Midnight Supper Date Kay Mulvey

Subject to Change (Farley Granger) Maxine Arnold

Come and Get It ! Sheilah Graham

Palm-Tree Paradise

That Prize Pidgeon Greer Garson

This Is a Love Story (Jane Wyman, Lew Ayres) Ruth W aterbury

Honeymoon in Mexico, told in comics (Esther Williams)

Some Things for the Girls Edith Gwynn

Photoplay Fashions

32
38
40
42
44
46
48
50
52
54
56
58
60
62
64
66
68
83

FEATURES IN COLOR

Ingrid Bergman

Burt Lancaster

Errol Flynn

June Allvson

Cornel Wilde

Farley Granger

Lex Barker

Palm-Tree Paradise

Victor Mature .

Jane Wyman

Alan Ladd . .

Janet Leigh

Lizabeth Scott .

SPECIAL EVENTS

Dream House Developments

Laughing Stock . . .

Beauty Spots

Platter Patter

Brief Reviews

113

Readers Inc. . .

Casts of Current Pictures

116

Shadow Stage

Inside Stuff — Cal York

What Should I Do?

Cover: Bing Crosby, star of “Connecticut Yankee’’
Natural Color Portrait of Bing Crosby by Paul Hesse
Portrait of Phillip, Lindsay, Gary, Dennis Crosby by Bud Fraker
Design by Otto Storch

Fred R. Sammis, Editorial Director
Ruby Boyd, Managing Editor
Alice Tiller, Assistant Editor
Rena D. Firth, Assistant Editor

Adele Whitely Fletcher, Editor
E. Davenport, Executive Art Director
Deli Hoffman, Associate Art Director
Mary Jane Fulton, New York Beauty Editor

Beverly Linet, Assistant Editor

Ann Daggett, Hollywood Editor
Frances Morrin, Hollywood Managing Editor
Sara Hamilton, Associate Editor
Ruth Waterbury, Contributing Editor

Hymie Fink, Photographer
Sterling Smith, Photographer
Betty Jo Rice, Asst. Photographer
Maxine Arnold. Contributing Editor

MARCH, 1949 VOL. 34. NO. 4

PHOTOPLAY, published monthly by MACFADDEN PUBLICATIONS, Inc., New York, N. Y. General Business, Editorial,
and Advertising offices: 205 East 42nd Street, New York 17, N. Y. Hollywood-Beverly Hills Office: 321 S. Beverly
Drive, Beverly Hills, California. O. J. Elder, President; Harold Wise, Executive Vice President; Herbert G. Drake, Vice
President; Joseph Schultz, Vice President; Ernest V. Heyn, Vice President; Meyer Dworkin, Secretary and Treasurer;
Edward F. Lethen, Advertising Manager; Charles O. Terwilliger, .Jr., Eastern Advertising Manager. Chicago office,
221 North La Salle St., Leslie R. Gage, Mgr. San Francisco Office: 1613 Russ Building, Joseph M. Dooher, Mgr.
Los Angeles Office, Suite 908, 649 South Olive St., George Weatherby, Mgr. Reentered as Second-Class matter. May
10, 1946, at the Post Office at New York, N. Y., under the Act of March 3, 1879. Subscription rates: U. S. and Posses-
sions and New Foundland $1.80 per year. Canada $3.00 per year. All other countries $4.00 per year. Price per copy,
15c in the United States, 25c in Canada. While Manuscripts, Photographs and Drawings a^e submitted at the owner’s
risk, every effort will be made to return those found unavailable if accompanied by sufficient first-class postage and
explicit name and address. But we will not be responsible for any loss of such matter contributed. Contributors are
especially advised to be sure to retain copies of their contributions, otherwise they are taking an unnecessary risk.
Copyright 1949, by Macfadden Publications, Inc. All rights reserved under International Copyright Convention. All
rights reserved under Pan-American Copyright Convention. Todos derechos reservados segun La Convencion Pan-
americana de FTopiedad Literaria y Artistica. Title trademark registered in U. S. Patent Office.

Member of Macfadden Women’s Group.

All foreign editions handled through Macfadden Publications International Corp., 205 East
42nd Street, New York 17, N. Y. Carroll Rheinstrom, President; Douglas Lockhart, Vice President.

The contents of this magazine may not be reprinted either wholly or in part without permission.

Printed in U. S. A. by Art Color Printing Co., Dunellen, N. J.

☆ ☆ ☆ ☆ ☆

M-G-M

presents

THE FIRST

☆ ☆ ☆ ☆ ☆

Broadway’ 8 No. 1
Stage Hit Now
On The Screen!

BIG PICTURE OF 1949!

♦> >—

Scoop of the year!

M- G-M films the famed play!

Crash Landing !

This is just one of the breath-taking scenes that
make “Command Decision” an exciting picture,
one of the most talked-about films in years.

THRILLED MILLIONS!

As a best-selling book
and Reader’s Digest fic-
tion feature, the story by
William Wister Haines
won wide acclaim. Men
and women alike were
held spellbound by its
virile, gripping drama.

CLARK GABLE
WALTER PIDGEON
VAN JOHNSON
BRIAN DONLEVY
CHARLES BICKFORD
JOHN HODIAK
EDWARD ARNOLD

“COMMAND DECISION”

with MARSHALL THOMPSON
RICHARD QUINE
CAMERON MITCHELL
CLINTON SUNDBERG
RAY COLLINS

A SAM WOOD PRODUCTION

Screen Play by William R. Laidlaw
and George Froeschel

Based on the Play by William Wister Haines
Directed by SAM WOOD
Produced by SIDNEY FRANKLIN

In Association with
GOTTFRIED REINHARDT
•fr An M-G-M Picture ir

Clark Gable Walter Pidgeon
Van Johnsow Brian Donlevy

Charles Bickford' John Hodiak
Edward. Arnold

“Command Decision ”

Forceful Fighting Man !

WALTER PIDGEON turns in a re-
markable performance as the officer
who must make a great decision!

Kids The Brass Hats!
VAN JOHNSON is hard-
boiled and wise-crack-
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you laugh and cheer!

He Carries On !

BRIAN DONLEVY as
the man who takes the
hot-spot of a high com-
mand does a fine job!

Flies Fateful Mission!

JOHN HODIAK is
thrilling as the pilot who
achieves his objective...
and pays the price!

With such a galaxy of stars it is
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“KING CLARK GABLE
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says Hedda Hopper
(noted columnist)

iJkTU

jfeft-Out Reeling

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DREAM HOUSE

last lines are being judged.
It won’t be long now !

I! EXT month a Photoplay reader’s dream
11 comes true! One of the many thousands
who submitted a last line to Photoplay’s
Dream House jingle will be announced as
the winner of a new, completely furnished
Industry Engineered home.

As soon as we learn the location of our
winner, the new house will be erected by
the nationally famous National Retail
Lumber Dealers Association of Washing-
ton, D. C. In constructing this house, in
keeping with the N.R.L.D.A. policy, only
outstanding building materials will be
used: Kitchen, bath and heating unit by
Borg-Warner; hardwood floors by E. L.
Bruce; framing, lumber, sheathing and
siding by Weyerhaeuser; insulation by
National Mineral Wool; roofing by Asphalt
Roofing Industries; millwork by Ponderosa
Pine; Gypsum wallboard by Gypsum As-
sociation.

We wish there was space to list the
different and delightful exhibits that ac-
companied many entries. One contestant
sent a small scale model of the house —
perfect in every detail. There were many
wonderful letters and original poems.
However, for the sake of fairness to all our
contestants, each entry is being judged
solely on the way the jingle was com-
pleted.

Wait for the April issue — on the news-
stands March 11 — for the announcement of
the winner.

Martha Vickers inspects a Dream House

occupant, the Thor Automagic Washer —
for dishes as well as the family wash

in Seymour Nebenzals

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your problems
answered by

CLAUDETTE COLBERT

Claudette Colbert, star
of “Family Honeymoon”

rAR Miss Colbert:

Our small community has just organ-
ized a Mothers’ Chorus of which I am a
member. We sing at P.T.A. meetings and
churches. We meet every Thursday night.

My husband has demanded that I resign
from the chorus or get a divorce. Our
two little girls are four and six. Since the
six-year-old has started school I have
been invited to be a Room Mother, but my
husband has put his foot down on that.

My husband belongs to a riding club
and a card club, although I am not a mem-
ber of either, and he spends an occasional
evening with men friends. Am I not en-
titled to a little outside recreation?

I am twenty-three and my husband is
twenty-six, but we are considered old
fuddy-duddies by our friends because we
never go out together to movies or dances
as many of our friends do.

Can you think of any way to help me?

Mrs. W. C. B.

Is seems to me that there tnust be more
in the background than you have indi-
cated. On the surface , it would seem that
you are public-spirited and a good home-
maker and your husband a selfish, tyran-
nical brute. Yet surely you wouldn’t have
married him had this been the case.

Usually when an otherwise fair man
shows signs of stubborn possessiveness it
is because his ego is assailed or his emo-
tional security is threatened. In your
husband’s case , he may have been given
old-world training in his own home which
inclines him to the belief that a woman
has no right to leave kitchen and nursery.

Surely he wouldn’t be so adamant un-
less he had what he thought was a good
reason. If your husband is really a
staunch believer in the outmoded notion
that woman’s place is only in the home,
you are in for a rough matrimonial ex-
perience. However, if there is some rea-
son for his behavior which you know, but
which you have failed to mention, I think
you should adjust yourself.

Claudette Colbert

Dear Miss Colbert:

My sister goes out one night each week
and I take care of her baby. My brother-
in-law sometimes stays at home, and
sometimes comes home before my sister
arrives, and he makes passes at me. Really
bad passes. So far I have been able to
get away from him. I have threatened to
telephone the police, and so far I have
convinced him not to go too far, but I am

terribly afraid.

I can’t tell my mother because she isn’t
very well and practically everything makes
her cry. I can’t tell my sister because it
would break her heart. I did tell my boy
friend and he said he would like to kill
him, but that would really be a mess.

We are really a nice family. We have
never been involved in a scandal. If I
had a father, he would help me, but my
father died when I was seven.

Can you think of some way I can pro-
tect myself without hurting my family?

Rosanne H.

Your problem is so serious that you
must have the help of an older and a
wiser person who is there in your home
town. Don’t you know your family doc-
tor well enough to go to him, tell your
story, mentioning your eagerness to pro-
tect your mother and your sister, and ask
him for help? Aid of a competent physi-
cian would be most desirable because it
is possible that your brother-in-law is in
need of medical or psychiatric attention.
The doctor who took care of your sister
when her baby was born should be of
help in case you have no family doctor.

If you are nervous about talking to a
doctor, go to see your pastor.

Be sensible. Seek the aid of competent
older people to solve your problem.

Claudette Colbert

Dear Miss Colbert:

When I joined the Army three years ago
it was because I made a mistake and got
into trouble. Everybody liked me until I
made that one mistake, then everybody
turned against me. I was never punished
for the crime I committed, but it is always
on my conscience. It always comes up to
bother me when I’m alone.

I haven’t been home since I joined the
Army. I’m afraid to go home. I’m getting
out soon, but what should I do then? My
life has been miserable since that day.

Jack B.

Although you have written “/ was
never punished for the crime I com-
mitted,” you have actually punished your-
self a dozen times a day for the past
three years. You have told me so little
of your mistake that it is impossible for
me to be specific about your problem, but
there are some fundamental life facts
which I think you should consider.

First of all, there isn’t anyone over the
age of twelve to fif- ( Continued on page8)

There is some Don Juan in every man -butyWihere's more of it in him!

!The sword is too good
for traitors — you die
by the dagger!”

Warn er bros.

tECHNlCOLO/^;

OOtEO BY ^

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( Continued from page 6) teen who hasn’t
made some sort of foolish mistake. In
your own school, you probably knew
dozens of youngsters who did reckless,
idiotic things without getting caught.
Don’t feel that you are a lone culprit
simply because your mistake was found
out.

The wonderful thing about life is that
every day offers us the chance to begin
again. Men have served prison terms
and then become useful, upright citizens.
Whatever your mistake ivas, it has note
been forgotten by ninety per cent of those
who knew you. Another five per cent will
remember and forgive, and the rest aren’t
worth ivorrying about.

Go home with your head high, your
heart humble, and your mind made up to
forget the past and to earn a brilliant fu-
ture for yourself.

Claudette Colbert

Dear Miss Colbert:

I am sixteen years old and am an only
child. I have been offered a job by a lady
friend of my family. She wants me to work
in the box office of our local theater. I
would have to work from 6:30 until 9:30
and would be paid well. My parents say
I will not get the correct amount of sleep,
or be able to do my homework.

I have explained to them that I can study
right after school, and will always be home
no later than 10: 30 P.M. except for mid-
night shows which only happen on Fridays,
five times a year. Please help me to ex-
plain to my parents that a job will keep me
from becoming “spoiled” and also will
teach me the value of money.

Jacqueline S

I must agree with your parents. Actu-
ally, you have no idea what it would mean
to have the responsibility of a job seven
days a week. You would never have a
free night, never be able to accept a date,
never even be able to see a movie, if you
were to keep your promise to be at home
every night before ten-thirty.

To work seven nights a week, to go to
school, and to keep up your homeivork
would be more than the strength of the
average teenster could endure. Wait un-
til you have graduatetl from high school
before you assume such a burden.

Claudette Colbert

Dear Miss Colbert:

My boy friend and I plan to be married
in the spring. We want a home wedding,
and have made most of our plans. Just
when everything was going perfectly, an
argument has occurred.

My mother wants the wedding to be
given in my home, but my boy friend’s
mother says that it is proper for the wed-
ding to be given in the groom’s home.

My home is larger than his home, and it
is in the city. His mother says that there
is more parking space out in the country,
and that her garden will be beautiful.
What can we do so there won’t be trouble?

Elsie A.

So far as the conventions are con-
cerned, it is customary for a home wed-
ding to be given in the residence of the
bride’s parents. However, if there is to be
difficulty why don’t you and your fiance
select a church which would be satisfac-
tory to both sets of parents and be mar-
ried there?

Here is a tip: Keep everything as
friendly and smooth as possible, because
it is clear that many weddings set up
deadly animosity in some branch of the
neicly amalgamated family. The more
difficulties that can be smoothed in ad-
vance, the happier the occasion will be.

Claudette Colbert
( Continued on page 76)

Never has

by so many. . . /

They made such a lovely
couple. ..all five of them
the Bride. ..the Groom...
and her 3 kids!

viii'j’iiuftfl

n til u

111 BibI

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Cheers and Jeers:

I certainly agree with Dorothy Kilgal-
len in her selection of top stars in the
January Photoplay. Especially Richard
Widmark. He’s the most interesting actor
Hollywood ever had and he certainly has
the ability of a truly fine actor.

Mary Buckley
Boston, Mass.

Where has that tall, dark and handsome
Leo Genn been all my life. I never thought
I’d see the day when I would dream of a
movie star like some kids do. For my
money, he didn’t appear enough in “The
Velvet Touch,” so I saw it five times.

Emily Handen
Kansas City, Mo.

I have just read “Diamonds and Dia-
pers” (January) written by Louella Par-
sons. Tell me, why is Miss Parsons
always covering up and making excuses
for Lana Turner? It seems to me that
every time Lana gets some “so-called
unfair publicity,” Miss Parsons imme-
diately goes to her rescue and tries to
make out that Miss Turner isn’t so bad,
really, she’s just unhappy.

C. Bray
Massena, N. Y.

Request Granted:

I was surprised and very unhappy to see
that you only had a short subject on
Montgomery Clift in the December issue.
Please, won’t you, in the future, have a
larger story and more data about him?

Mary Ann Gustafson
Erie, Pa.

(Wait until you see April Photoplay.)

Question Box:

I have just come from seeing “Johnny
Belinda.” Being a staunch Cape Bretoner,
I resented the fact that the scenes were not
actually taken here. We have some of the
most beautiful scenery in the world. The
picture did us a great injustice — what
with gnarled trees, and fish, and gales.
Also, I and my friends are puzzled as to
the time of the story. According to our
reasoning, it must have taken place about
thirty or forty years ago. Surely it can’t
be the present — we’re not that backward !
Can you enlighten me on this?

Edith Gillis
Sydney, N. S.

(Warners says the time is now.)

Could you please tell me the name of
the song that was played throughout
“Johnny Belinda”? Was it recorded?

M. Pacelli
Chicago, 111.

(An original score. The song and music
is untitled and unrecorded.)

In the October issue of Photoplay, there
was an advertisement of “The Three
Musketeers” and it said, “For the first
time in motion picture history, the com-
plete novel.” Didn’t Twentieth Century-
Fox make the picture before?

Anthony De Fusco
Providence, R. I.

(“The Three Musketeers’’ was made sev-
eral times. Fox made it with Walter
Abel, Heather Angel and Gloria Stuart
and then again as a musical farce zvith
Don Ameche, the Rite Brothers and Bin- i
nie Barnes. But both versions ended when >
the Queen’s necklace was regained. The
M-G-M version was the one that follozved
the book to the end. It is the only
complete version made.)

Did Ron. Randall kill Glenn Ford in
“The Loves of Carmen”? Could you
also give me the title of the song Johnnie
Johnston sang while sleigh riding with
Esther Williams in “This Time for
Keeps” ?

Dorothy Allen
North Bangor, N. Y.
(Yes, to the first question. “S’No Won-
der They Fell in Love” is the title of the i
song.)

What has become of Susanna Foster?
Will she return to pictures, sing opera or
do both?

James Liesenhoff
Dayton, Ohio

(She is appearing in operettas with her
husband, Wilbur Evans. She is not plan-
ning to return to the movies.)

Not long ago, I read an article on
Patricia Neal which stated that she was
from Kentucky. Well, when did she live
there? She was in Junior High School
when I was and this was at Knoxville,
Tennessee. She was very talented and :
was called upon for all dramatic occasions, j
Mrs. W. F. Bible
Knoxville, Tenn.

(She was born in Packard, Kentucky. The
family moved to Knoxville when she zvas
still of grammar school age.)

Last night, for the first time, I saw
Gordon MacRae starring in “The Big
Punch,” and enjoyed it very much. In my
opinion, he is going to become one of the
top ranking male stars. I would like to
know if he is the same Gordon MacRae
that sings over the radio.

Shirley Ezell
Linz, Austria

(Yes, he sings over the radio.)

Address letters to this department to
Readers Inc., Photoplay, 205 East 42nd
Street, Nezv York 17, N. Y. Hoveever,
our space is limited. We cannot there-
fore promise to publish, return or reply
to all letters received.

I think she’s guilty...”

I’m afraid she’s guilty...”

I know she’s guilty...”

r7 want the truth!”

A shot was fired behind the closed
door! A fatal confession made! Yet,
the secret truth lies buried
deep in the breast of the lovely
victim . . . together with
the bullet that struck her down!

with

VICTOR JORY • MARY PHILIPS
JAY C. FLIPPEN

ORE SCHARY Presentation

Produced by HERMAN J. MANKIEWICZ
Directed by NICHOLAS RAY

Screen Play by HERMAN I MANKlEWlCi

R K O
RAD1C

MAUREEN O’HARA - MELVYN DOUGLAS
GLORIA GRAHAME - BILL WILLIAMS

Still the girl who won’t say “yes” to Howard Duff, Ava Gardner
•lances with him at Beverly Wilshire on one of their frequent dates

Jennifer Jones and David Selznick aren’t saying —
but they may be married by the time you read this

Gold Medal Guy: Cal dropped over to the
Casa Crosby to congratulate Bing upon his
winning the Photoplay Gold Medal, and couldn’t
help noticing the way his face lit up when he
showed us the letter penned by Gary, Phillip,
Lindsay and Dennis, the day after the awards
were announced. Cal would like to relay it
to you:

“Dear Dad:

“You’ve done it again, huh ? Gosh, we thought
that after the fourth Photoplay Gold Medal
Award, you would move over and give another
guy a chance. Of course, we think you really
deserve a hundred gold medals — just for being
you — the swellest pop there ever was. We can’t
forget how you always stick up for us, like
the time we had a tussle on the sunporch and
broke up all the furniture. You saved us from
spankings by figuring out how we could pay
for the damages out of the money we made on
the ranch.

“We’re glad that the folks picked you again.
Maybe if we get a chance to appear on your
radio show, we’ll give you some competition
next year. But seriously, we’re awfully proud
of you, Dad, and you’ll always be the winner
to us.

Your loving sons.”

1 Of Hollywood

A Milling volunteer for any good eause. Bob Hope, assisted
by Frank Sinatra, makes the benefit for the National Arthri-
tis and Rheumatic Foundation a riotous song and gag-fest

Purely Personal: A long midnight phone call
from Lana Turner Topping in Connecticut with
an invitation to visit her in her Greenwich
home; a happy, contented Lana who hopes their
baby will be a boy so they can call him Tim.
Cute name, Tim Topping. . . A pleasant tele-
gram from our old friend Jack Oakie and a
wonderful note from Lew Schreiber, Zanuck’s
assistant at Twentieth Century-Fox. . . Lunched
with Patia Power, Tyrone’s mother, before she
traveled east to meet daughter Anne, who has
been visiting Tyrone in Rome. And a long,
warm letter from Tyrone himself, still in Italy’s
capital and not missing Hollywood in the least.
He writes, “Rome at this time of year is a
dream. I cannot tell you what it is like in the
early mornings. What a wonderful snap in
the air as you ride to work, the Villa Borghese,
with the lovely green trees and the fountains
that never stop. Everything is so alive and
exciting and it’s a thrill just to be a part of it.”
From the tone of his letter and several per-
sonal asides, we’d say Tyrone may not be back
in Hollywood for some time.

Thoughts in Passing: Sighs of relief went up
all over town when Diana Lynn married John
Lindsay. Diana escaped a wrong marriage by
the skin of her pretty teeth on more than one
occasion. The town feels Diana made a wise
( Continued on page 14)

It’s birthday time for Mrs. Ada Durbin, so Deanna and her father have a party for three at the Beverly Wilshire

Hotel — which means that any difficulties between Deanna and her parents have been straightened out at last

Winter forecast: Bright ami bridal, according to latest reports, which have
Buddy Fogelson and Greer Garson definitely' planning a winter wedding

Betty and Larry Parks make the most of the occasion — the opening of the Ben
Gages’ new service station in Santa Monica, with Esther Williams servicing!

( Continued from page 13) choice i;
young Lindsay . . . Tom Drake seem
a luckless lad when it comes to love
His wedding to Gloria Haley has beei
canceled . . . Larry Parks, caught ii
the midst of another Jolson feud, i;
slowly but surely giving the impres
sion he’s a hard one to get along witl
. . . Shirley Temple is crushed over the
Hollywood Women’s Press Club nom
ination of her as one of the most un-
cooperative actresses. She needn’t be
She is' so carefully guarded by hei
studio that we have no doubt there were
many times she did not even knov
writers were trying to reach her
Dorothy Lamour and Glenn Ford were
voted the most cooperative and Errol
Flynn, who doesn’t give a hoot, anel
Rita Hayworth were voted the most
uncooperative. The warm letter Cal
just received from Errol, sailing in the
Bahamas, doesn’t render him unco-
operative to us.

Line or Two: Gloria De Haven and
John Payne seem happier than ever
after their separation. Gloria got her
way in returning to the screen and
John got Gloria back. So why shouldn’t
they be happy ? . . . Cal feels Iris Bynum
is deeper in love with Clark Gable than
she knows, judging from her actions
following their recent quarrel. Pretty
Iris protests too much, methinks. They’ll
be back together, we wager . . . The
radiance on Jeanne Crain’s face is
something to see these days. Married
to the man she loves, Paul Brinkman,
the mother of one adorable child and
expecting another, while growing bet-
ter and better on the screen, it’s no
wonder she’s a happy girl . . . Farley
Granger plans to fly to England to see
Pat Neal, who is being rushed by a
writer . . . Cary Grant, who is now in
England with Betsy Drake, seems so
deeply smitten with his leading lady in
“Every Girl Should Be Married,” the
bets are they will come home Mr. and
Mrs. . . . Macdonald Carey’s wife has
willingly accepted the four-months stay
in bed in order to have their second
child. No wonder Mac is crazy about
her . . . Judging from the amount of
baggage they toted with them to their
new home in Pebble Beach, we’d say
this will be the Bing Crosbys’ main ad-
dress in the future with Hollywood a
working stopover.

Set of the Month: The fireworks that
usually mark a C. B. DeMille production
had evidently long since exploded, for
all seemed serene when Cal strolled
onto the “Samson and Delilah” set. Vic
Mature, who plays Samson, came bus-
tling onto the stage with his usual vital
vigor and from his huge and easy
person there radiated a certain sureness
we felt Mr. DeMille wouldn’t care to
monkey around with. And in his robes
as Samson, with his strength-providing
hair coiled into a knot in the back —
what a man!

Angela Lansbury, borrowed from
M-G-M, strolled over for a chat while
Hedy Lamarr, a dream as Delilah, re-
hearsed a scene. ( Continued on page 16)

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INSIDE STUFF

Off the air: Liz Scott, Dick Powell, tun
up between broadcasts on Lux Radio shoi

( Continued from, page 14)

Throughout the day, three span o
horses had waited for the big chario
scene and when the director finally go
’round to it, the steeds were frankl
bored. Two huge sound stages- had bee i
opened with a runway between and wit I
Victor and Angela in one horse-draw
chariot, George Sanders in another an
Hedy in the third, the director gave th
signal for the race to begin. The horses
however, wanted no part of it and refuse^
to budge. At length, however, they tool
off in a towering rage with Vic’s horse
attempting to bite Sanders in the chario
ahead. As usual, George remained caln
With wild horses about to consume hin
alive, to say nothing of tearing througl
both stages at such a clip and the spring
less chariot threatening to shake him t
death, Sanders remained relaxed, aloo
and undisturbed.

Judging from this one spectacle alone
we’d say DeMille has done it again. If
fact, this is one picture we wouldn’t mis
for the world.

A Charming Couple: The old adag'
“good things last longest” has never beei
truer than in the ( Continued on page 25

Ruth Waterbury, president of Hollywooc

Women’s Press Club, presents Golder
Apples to Dorothy Lamour, Glenn Fore
for being most cooperative stars in 1948

LADD'S IN THE WEST..

IN TWO-GUN TECHNICOLOR!

Here’s a LADD you’ve
always dreamed about—
quiet, gentle-like — but
the most feared man on
the wild frontier! Afraid
of nothing but the
woman who loved him!

Filmed on a scale to rival
the never-to-be-forgot-
ten “Union Pacific”!

Color by

TECHNICOLOR

A Paramount Picture with

WILLIAM DEMAREST

Fay Holden • Murvyn Vye • Frank Faylen
Associate Producer Mel Epstein • Directed by Leslie Fenton

•0 Screenplay by Frank Butler and Karl Kamb • Based on the Novel by Frank H. Spearman

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By Lester Gottlieb

WORDS AND MUSIC: Thts musi-
cal features 22 wonderful Rodgers
and Hart melodies of which there are
a number of excellent albums avail-
able. Rodgers himself plays piano and
conducts a large orchestra in a Co-
lumbia album. Andre Kostelanetz has
made one for Columbia. For lesser
known songs by the pair, try Lee
Wiley’s intimate caroling (Liberty)
and Victor’s collection sung by Mil-
ton Berle and Betty Garrett. Best of
the new discs is Billy Eckstine’s croon-
ing of "Blue Moon” for M-G-M.

RONALD COLMAN: Plays the dual
lead role in Dickens’s "A Tale of Two
Cities” in a superb Decca recording.

CHARLES LAUGHTON : Has re-
corded for Decca the reading of four
stories from The Bible, "The Garden
of Eden,” "Noah’s Ark,” "David and
Goliath” and "The Fiery Furnace.”
The recordings are unbreakable and a
fine gift for youngsters.

LUXURY LINER: Jose Morand’s or-
chestra has grooved the excellent guar-
acha "Con Maracas” for Victor, and
the oldie, "Yes, We Have No Ba-
nanas.” The fied Pipers (Capitol) give
this one a brand new treatment.

THE KISSING BANDIT: Add to the
collection of songs from this, Vaughn
Monroe’s soothing echoings of "What’s
Wrong with Me?” and "If I Steal a
Kiss” (Victor). If you prefer a tenor,
try Dennis Day’s fun on the high C’s
with "Senorita” (Victor).

DANNY THOMAS: M-G-M offers
a new album of his famous comedy
songs.

ONE SUNDAY AFTERNOON:
Jane Pickens’s Victor version of the
title tune is almost a good reason to
see this picture.

POPULAR ALBUMS: Claude Thorn-
hill’s "Piano Reflections,” played by a
man who knows his way around a
keyboard, is a new Columbia issue . . .
Early American Folk Songs are sung
by Bob Atcher for Columbia ... A
brace of show tunes played by Artie
Shaw’s band gives Victor a strong en-
try . . . Sidney Bechet’s little band has
a time in a new Columbia Jazz Mas-
: terworks album.

It's a rollicking mystery-comedy based on the popular Craig Rice character ( and we do mean"character")Mr. Malone

IRENE HERVEY

BILLY VINE MARJORIE

ROBERT ARMSM6 maim LEWIS R. FOSTER

Screenplay by Lewis R Foster
Based on the novel by Craig Rice
Released thru United Artists

Amusement Enterprises presents

DO ROTH y BRIAN CLAIRE

(AM WNW MX

Honeymoon for five: Fred has little time for Claudette
with Jimmy Hunt, Gigi Perreau and Peter Miles around

^ (F) Words and Music (M-G-M)

THERE is enough talent here for half a dozen musicals,
what with such stars to entertain you as June Allyson,
Perry Como, Gene Kelly, Mickey Rooney, Lena Horne,
Judy Garland and Ann Sothern. And just for good
measure, there’s Tom Drake, Janet Leigh, Betty Garrett,
Cyd Charisse, Marshall Thompson, Vera-Ellen and Mel
Torme. The lilting tunes, graceful dancing and opulent
sets completely outdazzle the story.

Mickey Rooney plays the late Larry Hart and Tom
Drake portrays Dick Rodgers — the team that turned out
one hit show after another. Bouncing about even more
than usual, Mickey works himself into a sad state when
Betty Garrett turns him down. His friend and collabo-
rator has better luck with pretty Janet Leigh.

June Allyson is adorable, Lena Home is at her torch-
iest; Kelly andVera-Ellen do a sensational dance number;
Como injects a romantic flavor into the melodies.

Your Reviewer Says: Stampede of the stars.

^ (F) Family Honeymoon
( Universal-International )

ANY man who marries a widow with three
lively youngsters is something of a gambler.
And when the entire family goes along on the
honeymoon, that’s really asking for trouble.
Since Claudette Colbert is the very charming
bride, you can’t blame Fred MacMurray for
taking his chances. He is kept so busy with
the kiddies that there’s no time left to woo
Claudette. Worse still, arguments arise over
Rita Johnson, a meddling blonde who shows
up at the same hotel.

Leave it to Colbert and MacMurray to squeeze
every last laugh from these comical complica-
tions. Gigi Perreau, Jimmy Hunt and Peter
Miles are the mischievous children, Hattie Mc-
Daniel, the maid, Chill Wills a taxi driver.

Your Reviewer Says: Ninety laugh-loaded minutes.

^ (F) A Kiss in the Dark (Warners)

AMUSING situations, lively dialogue and expert acting
combine to make this a delightful film.

Jane Wyman is an engagingly vivacious young model
who coaxes celebrated pianist David Niven from his
plushy ivory tower. Under her healthy influence, he
changes from a moody, supersensitive artist into a real
human being, alive to the troubles of his fellow crea-
tures. The personal problems of Victor Moore, a lovable
screwball but a poor businessman, soon become David’s
problems. His shrewd manager, Joseph Buloff, ac-
quires Moore’s apartment house for him. Abandoning
his intention to be merely an absentee landlord, David
takes an active interest in making life brighter for his
tenants, especially Jane. But obstacles crop up in the
person of Jane’s fiance, Wayne Morris, and burly Brod-
erick Crawford who terrorizes everyone in the house.
It’s all as light and carefree as a spring day.

Technicolor treat: Mickey Rooney, Judy Garland and an
all-star cast in the musical saga of Rodgers and Hart

BY EISA

Your Reviewer Says: A real rib-tickler.

F — For the whole family
A — For adults

For Complete Casts of Current Pictures See Page 116. For Best Pictures of the Month

fV' (F) Chicken Every Sunday
(Twentieth Century-Fox)

THIS homey, heartwarming tale proves the old
saying that you can’t change a leopard’s spots.
But when the leopard is boyishly blundering
Dan Dailey, why bother?

Dan is so full of schemes and dreams that it’s
up to his spouse, Celeste Holm, to keep a roof
over their nest. When she discovers that Dan
has mortgaged the house, along with the fur-
niture, so he can invest the money in a copper
mine, poor Celeste is ready to call it quits. But
daughter Colleen Townsend reminds her that
even if Pop is a weak character, he has oodles
of friends. And that’s what really counts.

Many of the chuckles are provided by sup-
porting players Alan Young, William Frawley,
Connie Gilchrist and Veda Ann Borg.

Your Reviewer Says: Drop in, neighbor!

Brainstorms and boarders! There’s always something new in
store for Dan Dailey and Celeste Holm in this homey comedy

^ (A) Act of Violence (M-G-M)

IN ominous and compelling drama, “Act of Violence” is
* designed to keep you in breathless suspense. Thanks to
superior acting and direction, it succeeds in doing that.

Into the peaceful lives of Van Heflin, his wife Janet Leigh
and their little boy, a sinister shadow creeps in the person
of Robert Ryan. Once his wartime buddy, Ryan has be-
come Van’s bitter enemy, firmly resolved to kill him. The
fervent pleas of his girl, Phyllis Thaxter, go unheeded.
Little by little, Janet worms from her husband the ugly
truth behind Ryan’s strange behavior. He holds Heflin
accountable for crippling him for life and for the dreadful
deaths of a number of American fliers in a Nazi prison
camp.

A uniformly fine cast includes Mary Astor whose
helping hand Van grasps in a crucial moment. But it’s
primarily actress Leigh who demonstrates her dramatic
ability in this picture, delivering a poignant performance.

Your Reviewer Says: Grim tale of revenge.

Deliberate drama: A shadow threatens Janet Leigh’s
life when Robert Ryan resolves to murder her husband

(A) The Dark Past (Columbia)

WHAT makes a gangster tick is graphically described in
this trigger-taut movie.

In his most impressive performance to date, William
Holden plays a vicious killer who is his own worst enemy.
After breaking jail, hard-boiled Holden and his loyal
sweetheart, Nina Foch, along with two fellow-criminals,
invade the country home of psychology professor Lee J.
Cobb. They plan to remain until one of their gang comes
for them in a boat. It isn’t the sort of weekend Cobb
and his gracious wife, Lois Maxwell, had planned for their
youngster and house guests, but they rise to the emergency
admirably. Particularly the professor who demonstrates a
calm that is infuriating to the jittery Holden. Seems the
latter suffers from a recurrent nightmare that is driving
him crazy. Mental disorders being right up his alley, Cobb
proceeds to probe Holden’s warped mind with remarkable
results. It all adds up to good, fast melodrama.

V Good ^^Very good Your Reviewer Says: Engrossing study of a gangster.

V'V'V' Oustanding

and Best Performances See Page 98. For Brief Reviews of Current Pictures See Page 113.

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I'V' (F) A Letter to Three Wives
(Twentieth Century-Fox)

SO marriages are made in heaven, are
they? You would hardly believe it from
this three-ring marital circus.

There’s tearful Jeanne Crain, anxious
to make good with husband Jeffrey Lynn’s
smart friends. Then there’s Linda Dar-
nell who feathers her nest by marrying
wealthy Paul Douglas, only to treat him
with cruel contempt. And there’s Ann Soth-
ern, clever about fixing up other people’s
problems but not her own. She’s the real
breadwinner of the family because of the
paltry salary of her teacher-husband,
Kirk Douglas. Into the girls’ more or less
placid lives a letter arrives, blithely stat-
ing that the writer has eloped with one of
their husbands but neglecting to mention
which one. Each wife has reason to believe
it’s her spouse who has skipped town
with the irresistible Addie. The point is
that not one of them really feels secure.

Your Reviewer Says: Wedlock’s woes enter-
tainingly told.

^ (F) Mr. Perrin and Mr. Traill
(Rank-Eagle Lion)

CREDIT Marius Goring (“The Red
Shoes”) with delivering a splendid char-
acterization of a frustrated, browbeaten
teacher in an English public school. He
and his colleagues quake under the harsh
rule of Raymond Huntley. When David
Farrar joins the staff, his presence is like
a breath of fresh air in the musty atmos-
phere. But tension soon develops between
the modern-minded Farrar and the mid-
dle-aged Goring. Although poles apart
in their outlook on life, they are both
attracted to school nurse Greta Gynt.

Because such action as there is in this
British-made movie is slowed down by
petty bickering, its appeal for American
audiences will be limited.

Your Reviewer Says: For the te a-a n d-
crumpet crowd.

'S (F) John Loves Mary (Warners)

MAYBE John does love Mary but he cer-
tainly has an odd way of showing it
in this harum-scarum farce. Anyway,
sparkling Patricia Neal thinks so.

After a four-year separation from her
soldier-sweetie, Ronald Reagan, she’s all
fluttery over his impending arrival. Then
who should pop up to spoil it all but Jack
Carson, a dumb Joe if ever there was one.
Still Patricia has to be nice to the guy
because he saved her darling’s life over-
seas. Smiles turn into tears, however, when
she realizes that Ronald is deliberately
putting off their wedding. How is she to
know that, in an unguarded moment, he
married Jack’s English heart-throb, Vir-
ginia Field, so he could get her into the
United States for his buddy? Reagan’s
plan to untie the knot in Reno goes awry
and everything looks oh, so hopeless.

Wayne Morris registers as a thorough-
going heel; Edward Arnold and Katherine
Alexander are Patricia’s parents. All con-
tribute to the laughs, but it’s newcomer
Neal who really rates top billing.

Your Reviewer Says: A jolly jamboree.

z' (A) This Was a Woman
(Excelsior-20th Century-Fox)

llfOT a pleasant picture, this . . . but a
ll provocative one. The havoc wrought
by a poisonous female, who feeds on the
heartaches of her family, is dramatically
unfolded against an English setting.

As played by Sonia Dresdel, she is evi'
incarnate. She undermines the confident
of her husband, Walter Fitzgerald, wreck:
the marriage of her daughter, Barbar;
White, and then deliberately throws house-
maid Celia Lipton at her son-in-law’s head
It’s her clever doctor-son, Emrys Jones, wh<
finally traps his mischief-making mater
Cyril Raymond sensibly resists the wile:
of this dominating creature; Julian Dalla:
is the personable young man suffering
from mother-in-law trouble.

Your Reviewer Says: Portrait of a femalt
fiend.

F' (F) Whispering Smith
(Paramount)

IN Alan Ladd’s first Western and firsl
appearance in Technicolor, he plays e
soft-spoken, swift-acting railroad cop.

Robert Preston, a big, boisterous chap
brags about Ladd’s prowess at catching
outlaws, only to wind up on the wrong
side of the law himself. It’s tough for Alai
to fight the guy because he happens tc
be in love with his wife, Brenda Mar-
shall. Brenda made the mistake of marry-
ing Preston when Alan failed to speal
up and now, as she watches her husbanc
go to the dogs, she is sweetly sorrowfu
about the whole business.

Donald Crisp is the scoundrel responsi-
ble for Preston’s downfall and Fran!
Faylen is Crisp’s cold-blooded gunman.

Your Reviewer Says: Fair- to-middlin’ West-
ern.

(F) Siren of Atlantis
(Nebenzal-UA)

WEBSTER defines a siren as “something
insidious or deceptive ... an enticing
woman.” And that description fits Mari; |
Montez as the queen of Atlantis.

Dennis O’Keefe and Jean Pierre Aumont
officers of the French Foreign Legion
make the lady’s acquaintance when the;
are captured by her tribesmen in thi
Sahara desert. She exerts her charms 01
Aumont who quickly becomes her willin|
slave and spurns O’Keefe’s sensible sug
gestion that they attempt to escape. Witi
calculated cruelty, Maria creates a rif
between the two men, driving Aumont t
commit murder.

That’s the gist of this fantastic foldero
which is something of a strain.

Your Reviewer Says: A foolish fable

v'V (A) The Quiet One
(Film Documents)

WITH impressive simplicity, this docu
mentary presents the story of a ten
year-old colored lad who typifies thou
sands of children in this country.

As portrayed by Donald Thompson, h
is a sullen, lonely child whose unhappines
springs from his insecurity, his sordi
surroundings and the knowledge that he i
unwanted by his mother and a burden t
his grandmother. How he lands at Wilt
wyck, a corrective school for boys a
Esopus, New York, is effectively narrate
by Gary Merrill. With infinite patienct
members of the school staff try to dra'
out Donald. Full of destructive tendenck
born of bitterness and frustration, Donal
is a problem child and a potential delin
quent.

Fortunately, there are people who car
enough to give the boy a chance in lii
and as the picture ends, Donald’s re
habilitation begins.

Your Reviewer Says: Food for thought.

( Continued on page 98)

Can you avoid catching cold?
And if you do catch one is it
possible to reduce its severity?
Oftentimes — YES.

IT is now believed by outstanding
members of the medical profes-
sion that colds and their complica-
tions are frequently produced by a
combination of factors working to-
gether.

1. That an unseen virus, entering
through the nose or mouth, probably
starts many colds.

2. That the so-called "Secondary
Invaders”, a potentially troublesome
group of bacteria, including germs of
the pneumonia and streptococcus
types, then can complicate a cold by
staging a "mass invasion” of throat
tissues.

3. That anything which lowers
body resistance, such as cold feet,
wet feet, fatigue, exposure to sudden
temperature changes, may not only
make the work of the virus easier but
encourage the "mass invasion” of
germs.

Tests Showed Fewer Colds

The time to strike a cold is at its
very outset ... to go after the sur-
face germs before they go after you
. . . to fight the "mass invasion” of
the tissue before it becomes serious.

The ability of Listerine Antiseptic
as a germ-killing agent needs no elab-
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is the impressive record against colds
made by Listerine Antiseptic in tests

made over a 12-year period. Here is
what this test data revealed:

That those who gargled Listerine
Antiseptic twice a day had fewer colds
and usually had milder colds , and
fewer sore throats, than those who did
not gargle with Listerine Antiseptic.

This, we believe, was due largely
to Listerine Antiseptic’s ability to
attack germs on mouth and throat
surfaces.

Gargle Early and Often

We would be the last to suggest
that a Listerine Antiseptic gargle is
infallibly a means of arresting an
oncoming cold.

However, a Listerine Antiseptic
gargle is one of the finest precaution-
ary aids you can take. Its germ-kill-
ing action may help you overcome
the infection in its early stages.

Lambert Pharmacal Company
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Germs reduced as much
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Actual tests showed reductions
of bacteria on mouth and
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96.7% fifteen minutes after the
Listerine Antiseptic gargle, and
up to 80% one hour after the
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CENTURY- FOX

COLLEEN TOWNSEND -ALAN YOUNG

Natalie Wood • William Frawley • Connie Gilchrist -William Callahan
Veda Ann Bore* Porter Hall • Whit Bissell • Katherine Emery • Roy Roberts • Hal K. Dawson

PtmDf'r OCATF1M U/IIMAM Deo! DCDP Written for the Screen by George Seaton and Valentine Davies

Directed by utUKbt oLA I UN * Produced by WILLIAIVl rLKLohuu From the Stage Play by Julius J. and Philip G. Epstein And the Book by Rosemary Tayter

0a \oved /

34th Street

"miracj-E on

Diana Lynn, now Mrs. John Lindsay, wore an Edith
Head gown, and same penny in her shoe that matron-
of-honor Jane Withers wore when she was married

INSIDE STUFF

( Continued from page 16) case of Blanche
Sweet, beauteous star of silent films, and
lusband Raymond Hackett, of the stage.

Looking not much older than when she
was a star and one of the great beauties
)f the screen, Blanche, accompanied by
Raymond, has come again to Hollywood
'or more movies after several successful
days in New York. And how wonderful,
Sal thought, as we had cocktails with
;hese two, that they have progressed
■ight along from silent films to the New
fork stage and into talkies, for Hackett
las movie plans as well. And remember-
ng his work in “Madem X,” we’d say
;he producer who grabs him first is the
smart one.

We chatted with Zach Scott recently
ibout the play “Those Endearing Young
Sharms” he did with Blanche in New
fork. “I finally got up the nerve to tell
rer how madly I fell in love with her on
he screen. That clear-cut profile with
he blonde smooth hair sweeping her
:heeks. Boy, what a crush. She was
sweet and gracious about it and gave a
wonderful performance, too. But not just
Decause of that,” he added, with a laugh.

The Hacketts seem to have found a
sharing in their marriage that has lasted
shirteen years. They exchange ideas,
eminiscences, hopes and plans for the
’uture that can exist only between peo-
ple who are quietly sure of themselves
md, more important, of each other.

Party of the Month : The arrival of Dr.
Zachary Scott Sr., a retired Texas sur-
geon and his pretty wife, at the home of
jcheir son, Zachary Scott Jr., was signal
for the best party in a long, long time.
Only the closest friends of popular Zach
and Elaine were on hand to welcome Dr.
and Mrs. Scott and what a wonderful
;ime the guests and guests of honor had.
^.nne Baxter and John Hodiak, who vis-
ted the family in Texas, came early and
jo did Johnny Greene and wife Bunny.
Tohnny is scoring the new Danny Kaye

picture and is enthusiastic over the mate-
rial Sylvia Kaye has written for her tal-
ented husband. Celeste Holm, who plays
a nun in “Come to the Stable,” sang
Christmas carols like an angel and then
topped off the concert with songs from
“Oklahoma,” the play that made her
famous. And when little Waverly Scott
returned home from her first formal
party, if you please, she and Cesar Ro-
mero cut a rug that had her grand-
parents in hysterics. Waverly is a real
grown-up eleven.

Clark Gable, who came with Ann
Sothern, is one attentive beau. “I must
see to Ann, now,” he’d say every once
in a while, and while Ann joined in the
singing and dancing, he sat back and
quietly enjoyed himself.

The Kellys: The Gene Kellys are home
from Europe and the bright young in-
telligentsia of the town are gathered
round, as usual, at the Kellys for sharp
discussions and games that really re-
quire brains. In fact, it was to Gene
and Betsy that Montgomery Clift just
naturally gravitated and in whose house
he felt most at home. When Gene and
Betsy trekked to Europe, Montgomery
went, too and, despite studio pleadings,
stayed there.

Their casualness is fhe Kellys’ chief
charm. They dress, think and behave
according to no set rules or standards. A
friend tells of Betsy telephoning a group
to gather at her home on a certain eve-
ning for a baby shower in honor of an
actress friend. One by one the group
gathered but no Betsy could be found.
Finally, the party got under way and
along about nine-thirty Betsy came home,
books swinging from a shoulder strap.
She’d been to night school. And no one
had a better time at the party than she.

Incidentally, Gene is not content to rest
on his acting-dancing laurels. He’s sold
one story to M-G-M, wrote another while

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Blithe spirits: Ann Rlyth,
with Barry Fitzgerald at the
Beverly Wilshire, has reason
to celebrate — she’s in new
picture with Barry and Bing

INSIDE

STUFF

Irene Dunne, Roz Russell
and Loretta Young rally
behind Sister Kenny at
dinner given at Biltmore
Hotel to help her raise
funds for polio work

in Paris and has been promised a full-
length picture to direct. He’s always
been a worker, from his days back in
Pittsburgh, and Hollywood hasn’t
changed him.

Break-up: The Dick Haymeses’ separa-
tion came as no surprise to a Hollywood
that wondered if Dick ever went home.
He was always on the go. When he did go
home, his wife Joanne Dru was busy
making a film or on location. So the
rift grew wider and wider. When Dick
left Joanne a year ago she was crushed.
Her home, her husband, her children were
her life. Now it’s different. Joan, after
“Red River,” is zooming in her motion-
picture career and standing on her own
two feet.

Oscar Who? Friends were congratu-
lating little Ann Blyth upon securing the
role opposite Bing Crosby in “Top of the
Moon.”

“Keep this up,” they laughed, “and
you’ll know what it’s like to have an
Oscar around.”

“Oh, I do know,” Ann said seriously.
“I had one around for a whole night.”
There was a strained silence. “We mean
the Academy Award . . .”

“I know,” Ann interrupted, with a
laugh, “and this was a real Academy
Oscar, too.” She then told how her task
in a Scavenger Hunt had been to bring
back Joan Crawford’s Oscar won for
“Mildred Pierce.” And since Ann had
played Joan’s daughter in that film, the
star handed over the Oscar, assuring Ann
that no one else in the world could pry it
away from her.

“And I was so afraid something would
happen to it, I kept it beside me on the
pillow all night. So, you see I do know

how it feels to have an Oscar around.
Even if it was somebody else’s,” she said.

A Square Craze: Certainly the sight
of Hollywood sophisticates executing
square dances all over the place is one
we never expected to see.

Lucille Ball and Desi Arnaz were
among the first to popularize the old-
fashioned square dance and the fad has
caught on with even the sedate Ronald
Colman swinging his partner for dear
life.

After accepting their first square dance
invitation, the Colmans waited in their
living room for their friends to call for
them, planning how to get out of it.
“We must have lost our heads,” Ronnie
said. “Can’t we just slip out now and go
some place?”

Three hours later, Mrs. Colman was
trying to get her husband off the dance
floor. In fact, he was so enamoured with
the dance, that on their annual Christmas
party, an orchestra, replete with caller,
had the host, hostess and guests squaring
away for the best time they’ve, had in
years. So there’s no telling when or
where Hollywood’s latest fad will stop.

Dining Out: As usual, Romanoff’s was
crowded with 'celebrities the night Cal
strolled in so, while waiting for a table,
we chatted with mine host and fellow
columnist, “Prince” Mike Romanoff. The
night before, at a party, we had chatted
for some time with Mike’s attractive
young bride and found her charming.
Producer David Selznick and his bride-to-
be, Jennifer Jones, were entertaining out-
of-town guests and looked happy. Reggie
Gardiner and his lovely wife Nadia re-
vealed their secret hope for a. ^rl. “I
think my baby ( Continued on 'pcitj'e 29)

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INSIDE STUFF

( Continued, from page 26) will be born
about the same time as Lana’s baby,”
Nadia told us. “When you see her, give
her my love.” George Raft who never
ages a day, it seems, was having dinner
with a pretty girl who looked like Nina
Foch and could have been. Sporting a
brand new mustache and looking pounds
thinner, Peter Lawford had Janet Leigh
in tow. What a different Janet from the
almost too naive miss of two years ago,
who waited on a Culver City corner for a
street car after a day at the studio!
Peter’s casual attitude convinced us Janet
must still love Barry Nelson, now in
New York.

Maggie’s Pet: Mary’s little lamb had
nothing on Maggie O’Brien’s little duck
that followed her to school, too. Beside
her desk in the studio schoolroom, Mar-
garet’s pet duck, given her as a gift, sat
quietly or ambled about unnoticed.

In fact, Maggre was so sure of her
pet’s fine behavior, she took it along to
the set of her new picture, “The Secret
Garden.” All went well until Maggie
stood under the glaring lights and spoke
her first lines.

Then the duck, hearing the voice of his
mistress and unable to see her, let out
one inquiring quack. Maggie’s eyes flew
to the sound man who shook his head. The
scene was ruined. The duck now waits
for Maggie outside the sound stage with
nary a quack out of him. Or is it her?

About People: Friends who know the
devotion and sincerity given by Charles
Boyer to his work are delighted with
his personal triumph in the New York hit
play “Red Gloves.” Mrs. Boyer and their
four-year-old son Michael have joined
Charles in New York . . . Richard Base-
hart, the thoroughly frightening menace
in “They Walk By Night,” is a vital
factor in the proof of Hollywood’s slow
but sure maturity. A few years ago the
bland-faced blond would have been ig-
nored by a town who considered only the
dark and swarthy the villain type. Maybe
Richard Widmark turned the tide and
what a turn . . . Agnes Moorehead, the
smartly dressed redhead off screen, who
plays character roles on screen, becomes
Jimmy Stewart’s mother in “The Strat-
ton Story.” But in real life, there is only
a very few years’ difference in their ages.

Sidelines: Acting doesn’t consume all
the time and attention of Hollywoodites
who often turn to other business ven-
tures. James Craig, for instance, has
owned a gas station in Beverly Hills for
several years and Esther Williams and
Ben Gage recently held a swank opening
of their Santa Monica service station
replete with lights, stars and refresh-
ments. Maureen O’Hara runs a smart
little dress shop in the Valley and Bob
Cummings has gone in for manufactur-
ing glass coasters decorated with Cali-
fornia scenes. Both Bob Hope and Bing
Crosby are part owners of ball clubs and
Van Johnson has made a lucrative tie-up
with a Christmas card company that
will feature Van’s paintings. Fred As-
taire, of course, has a chain of dance
schools and Victor Mature, not to be
outdone, has become a meat packer with
his face adorning the label on every
can.

Ford Facts: A friend, commenting on
the fabulous contract given Glenn Ford,
which gives Glenn $250,000 for one pic-
ture yearly at Columbia with the priv-
ilege of making outside pictures, said
to Cal, “It’s changed him completely.
Now he wears a happy smile and has a
good word for everyone.” Glenn has
earned '’’his new contract by consistently
playing ball with his studio, going into
films he felt unsuited rather than stir
up trouble. By so doing he remained the
most eligible male on the lot with both
Paulette Goddard and Rita Hayworth
claiming his services.

We hope Ellie, his wife, can now put
her dancing shoes away and return to
being a wife and mother— two roles she
prefers most.

Award from Abroad: This is the time
of the year when awards are no novelty.
Nevertheless, the surprise and delight
of Photoplay’s staff was great when
Photoplay received a scroll of honor from
the India Film Journalists Association
for being: “The World’s most impartial
reviewer of Yankee, British and other
films . . . the publisher of top rank stories
and articles and America’s widest circu-
lated film journal. A testament of healthy
journalism.”

We want publicly to thank the journa-
lists of India for this honor.

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Honorin

ON the following pages you will read about the film stars
and motion pictures you, America’s movie-goers, have
chosen as your favorites for 1948.

It was in 1919 that Photoplay first awarded Gold Medals,
the high honors you, the public, make possible, to those who
provide the finest entertainment.

As in the past, the winners will receive their awards at the
Photoplay Gold Medal dinner. February 14 is the date, the
Crystal Room of the Beverly Hills Hotel the glittering scene.

This year also marks the award of a special plaque of
honor which goes to Darryl F. Zanuck, vice-president in
charge of production at Twentieth Century-Fox, for “Gentle-
man’s Agreement,” one of the year’s ten most popular pic-
tures, and the film which courageously attacks thq urgent
problem of anti-Semitism.

The inscription on the plaque reads:

“Presented by Photoplay Magazine to Darryl F. Zanuck
— Twentieth Century-Fox. The Photoplay Achievement
Award for ‘Gentleman’s Agreement.’ Among the most
popular films of 1948 as recorded in the annual poll by
Photoplay Magazine.

“His courage and skill brought great popular appeal to
the presentation of a national problem.”

On February 14, before the dinner, the Lux Radio Theatre
will carry the complete dramatic presentation of “Sitting
Pretty,” judged the most popular film of the year. The orig-
inal cast will be starred in this outstanding radio event.

In the following weeks you will see the Fox Movietone and
Paramount newsreels of the presentation of the Gold Medal
Awards. You also will see the entire dinner, as recorded by
Columbia Pictures Screen Snapshots, produced and directed
by Ralph Staub.

Thus Photoplay again takes special pleasure in honoring
those stars and those producers who have provided movie-
goers with the finest in motion picture entertainment.

Darryl F. Zanuck, winner of
ihe Photoplay Achievement
Award for 1948

THESE are the times for proving that
you, the people, know what you want.
You ignore the experts, the prophets,
the dopesters and the salesmen who tell
you what you should want. Through
Photoplay’s nationwide election — con-
ducted by Audience Research, Inc., in
every city and town in the United States,
with every age and income group, both
men and women, young and old, with
frequent and infrequent movie-goers, you
have made your personal choices. You
have elected your King and Queen of
Hollywood. You have ignored the dope
sheets and picked your favorite movie.

America’s Most Popular Stars

And you have selected your favorite stars and movies,
influenced by nothing except the fact that you, your-
self, like them.

As your representative, Photoplay awards its Gold
Medal for 1948 to the top three:

For Actor of the Year — for the fifth time — Bing
Crosby.

For Actress of the Year — for the third time — Ingrid
Bergman.

For Picture of the Year — “Sitting Pretty.”

You’re not surprised by this. But the experts should
be. They say that a movie star to maintain his popu-
larity should have at least three pictures a year. Bing
had just one — “Emperor Waltz.” And look at Berg-
man. She didn’t have a single new picture in 1947. In

Wrnm/imm

Bing Crosby, 5-time winner, holds his place in Cold Medal race

Picture of the Year: “Sitting Pretty,” with Maureen
highest in public rating. It will be given on Lux

■yTHE GOLD

MEDAL WINNERS

And Pictures for 1948

1948, outside of “Joan of Arc,” which came too late
in the year to count, all she had had was her not
overly successful “Arch of Triumph.”

But these are the facts that mean nothing to you.
You like Crosby and Bergman better than anybody
else. And you told us so.

And the movie you enjoyed most had no big stars,
no huge ballyhoo, no large, expensive production
budget. But “Sitting Pretty” did have fine, warm
performances by Clifton Webb, Robert Young and
Maureen O’Hara. It had a story that could be about
people like you — it had humor and it made you feel
at home.

What about your other favorite stars and pictures?
Well, look at the score first, then we’ll tell you some

of the interesting things your votes show:

The men stars you liked best of all,
following Bing, of course, listed alphabeti-
cally, are Humphrey Bogart, Bob Hope,
Alan Ladd and Gregory Peck.

The women stars you preferred above
all, after Ingrid, also listed alphabetically,
are June Allyson, Rita Hayworth, Jenni-
fer Jones and Esther Williams.

And your nine favorite pictures, follow-
ing “Sitting Pretty,” listed alphabetically,
are: “A Date with Judy,” “Gentleman’s
Agreement,” “I Remember Mama,” “Life
with Father,” “Mr. Blandings Builds His
Dream House,” “The Naked City,” “The

O’Hara, Robert Young and Clifton Webb scored
Radio Theater, CBS, Monday evening, February 14

Ingrid Bergman, Gold Medal actress of the year for the third ti:

■/

Humphrey Bogart, one of Bob Hope bows in, Gary
leading five last year, still Cooper bows out as one of

a 1948 favorite top five male stars

Secret Life of Walter Mitty,” “State of the Union,” “The
Street with No Name.”

Surprisingly, only one out of all your ten favorite stars
appears in any of your ten favorite pictures! Gregory
Peck is the exception. In every single other case, you liked
the stars you liked regardless of their films. And you
enjoyed most the movies you did because they were en-
joyable— not because special stars were in them.

Another discovery: You’re loyal to your favorites, but
you’re not stubborn about it. You have a Missouri-show-

Alan Ladd came into the Gregory Peck’s popularity
leading five last year, still keeps him in winning five

holds his place for the second time

me attitude, but once you’re shown, you’ll change your
minds. For example, at the halfway mark of Photoplay’s
poll, we had our statisticians tote up how you felt at the
end of the first six months. You didn’t change at all so
far as the men were concerned: Your favorites halfway
around were your favorites at year’s end.

But you did change your minds about two of the ladies.
Six months ago, Betty Grable and Barbara Stanwyck
had two of the top five spots. At the year’s end, you re-
placed them with Rita Hayworth and Jennifer Jones.

Film Favorites: “A Date With Judy”
with Jane Powell, Liz Taylor, Bob Stack

“Gentleman’s Agreement” with
Dorothy McGuire, Peck, Garfield

“I Remember Mama” starred Dunne,
McIntyre, Dorn and Bel Geddes

“Life with Father” with Irene Dunne, “Mr. Blandings Builds His Dream

Bill Powell heading domestic comedy House” with Grant, Loy, Douglas

• -.'r ,

Fsthei1 Williains held gains
made in first half of year to
become one of five leaders

Jennifer Jones,'1 not in first
six months’ count, replaces
Barbara Stanwyck, for ’48

Rita Hayworth changed the
public’s mind, putting Greer
Garson out of runners-up

June Allyson maintains her
spot as one of five top wo-
men -stars, for second time

America’s Most Popular

Stars And Pictures for 1948

“The Naked City” starring Barry Fitz-
gerald, Don Taylor and Howard Duff

“The Secret Life of Walter Mitty”
starring Virginia Mayo, Danny Kaye

“State of the Union” with Spencer
Tracy, Katie Hepburn in star roles

“The Street with No Name” with Don
Buka, Richard Widmark, Mark Stevens

THE GOLD MEDAL
WINNERS

Burt Lancaster set a
new style in leading
men. He was a 1948
box-office attraction

Four who gained most
in public favor during
the year: Valli, with
only two U. S. pictures

Loretta Young moved
rapidly ahead in
movie-goers’ favor with
four fine performances

)an Dailey has been
taking steady gains
/since he first danced
into public limelight

Another thing: Four of your five favorite actors
were favorites in 1947. Gary Cooper is missing this
year. Bob Hope took his place. Funny thing
about it, is that last year, Coop took the place Bob
had in 1946. As for the ladies, we have two brand-
new winners: Jennifer Jones and Esther Williams.
They replaced Bette Davis and Greer Garson.

When it came to picking the pictures you liked
best, you were extremely particular. You liked
“Sitting Pretty” six months ago. You like it now.
You looked at everything the year had to offer and
it stayed Number 1 from beginning to end. But
half a year ago, six pictures, now missing, were on
your list: “Call Northside 777,” “Treasure of the
Sierra Madre,” “The Bishop’s Wife,” “Kiss of
Death,” “Body and Soul,” “Green Dolphin Street.”

Then, however, you decided you liked some of
the newer pictures better. Off went those six and
on came “I Remember Mama,” “Street with No
Name,” “The Naked City,” “A Date with Judy,”
“State of the Union” and “Mr. Blandings.”

Out of all those who brighten the movie firma-
ment, your repeated preference for four stars puts
them at the top of the list of those who increased
•most in popularity in 1948. The three to whom
you have extended the welcome-mat: Valli, Burt
Lancaster and Dan Dailey. The fourth, whom you
are bringing back to the top — Loretta Young.

Valli, the GI darling imported from Italy, made
only two U. S. pictures but “The Miracle of the
Bells” and “The Paradine Case” convinced you
that she has what it takes. “Mother Wore Tights,”
carried over from last year to help, “You Were
Meant for Me” and “Give My Regards to Broad-
way,” establish Dan Dailey as a reigning favorite
of the musical kingdom. Burt Lancaster began
setting a new virility pace with “Brute Force,” in
1947. He carried it on this year with “All My Sons,”
“I Walk Alone” and “Sorry, Wrong Number.”

You were glad to see Loretta Young hit the
stardust trail again. Still playing this year were
“The Crusades” and “The Farmer’s Daughter.”
Sam Goldwyn was wise enough to put her in
“The Bishop’s Wife” and she followed that with
“Rachel and the Stranger.”

You have made your Photoplay Gold Medal
Awards for 1948. In casting your votes, you have
added new strength to the rule followed by Holly-
wood’s most skilled movie-makers. All that really
counts is a good picture and a star who works
at being a star. So, hail to “Sitting Pretty” and
Crosby and Bergman who prove, too, that you,
the people, know what you want.

The End

Gray bill

Emblem of artistry: Ingrid Bergman, distinguished star of “Joan of Arc.
wins Photoplay’s Gold Medal as the most popular actress of 1948

'Where Bob shines — at golf and in “The Paleface” Dolores has reason to smile — Bob’s in Photoplay’s list of five top n

Bob’s quite a card in the Hope pack but, take it from Dolores, he’s not the joker in

THIS is Dolores “The Reformed Wife” Hope, about to toss off
truths concerning my favorite husband.

For the records, Bob isn’t the only member of the family
who’s been on the “Road.” For fifteen years I’ve starred in my
own production, released under the title of “The Road to Hap-
piness.” It’s a role I’ll love playing for as long as I live. I think
you’ll appreciate my many reasons, after you’ve read what I’m
going to tell you about my leading man.

Invariably, I’m asked three key questions. What’s it like being
Mrs. Bob Hope? Is he always funny around the house? Don’t
you ever get tired of laughing at all his jokes?

Bob isn’t always happy and funny. That wouldn’t be normal
and he is blessed with a very normal disposition. Occasionally
he loses his sense of humor and it’s usually about something per-
taining to his radio show. Then there’s his golf game! Take one
golf course, mix well together with one Bob Hope, result — one
serious man. We can tell just as soon as he comes in the front
door if he’s made a good score. He brags on and on about the
good ones. When I say, “How did you do today?” and there’s no
answer, I know!

As a matter of record, complete silence is a barometer to the
way Bob feels. If he is angry he won’t talk. Nor will he talk too
much about things when they are close to being perfect.

Bob always ribs the people he loves. The way the children
understand and take it is amazing. Because of his ready wit and
easy manner, people don’t always realize that Bob is very sensi-
tive. He quickly feels a situation and senses another’s reaction.
There was a recent evening when my nephew was having dinner
with us. He’s just at that age where his ( Continued on page 111)

The children, Tony, Nora, Kelly and Linda,
know how far they can go on Daddy’s gags!

Hope harmony : This is the part where Tony and Bob came in, but Linda prefers her mother s lovely voice

return of
the torso

BY HERB HOWE

Since the male figure became ’49 news, the
mighty men of Hollywood have
even the Greek gods turning on their pedestals

Schoen baum

Cornel Wilde: He bared his chest for a sword and dag-
ger routine, still does for his screen appearances

MacLean

Errol Flynn: Tops in tights, Errol gets a chance to
display his talents in the role of the dashing Don Juan

Lex Barker: Tenth in the Tarzan tribe, he swings from
trees to society teas with the greatest of cosmopolitan ease

ANYONE perusing the movie ads must have noted
that since Lana Turner went away the male torso
has been getting a play.

Burt Lancaster set off the tournament of torsos.
When Burt appeared in the advertisements with his
forty-one-inch chest displayed, he gave such a boost
to the box office that every studio in Hollywood
commenced jerking shirts.

The Greeks placed the male physique on a pedestal.
Sculptors glorified the athlete as Ziegfeld did the
Follies femmes. In the age of chivalry Man, possibly
weary of adulation, got down and gallantly placed
Woman on the pedestal. Now it appears that she is
just as gallantly hoisting him back.

Cecil B. De Mille, whose bathtubs used to brim
with female pulchritude, has switched around. Vic-
tor Mature is stripped for Samson, while Delilah, in
the lush form of Hedy Lamarr, is dressed to the nines.
Wizard De Mille always could ( Continued on page 93)

Burt Lancaster: Left NYU in acrobat tights to join
a circus, putting him in fine shape for Hollywood

Fink-Smith

Victor Mature: He’s got what it takes to look like Samson
in “Samson and Delilah,” before Delilah turns barber

Alan Ladd : He holds seniority among torso boys — has been
practically shirtless from the day he was born a star!

?
*»
N

Liz wanted to see if the Tower of London in the fog was as
beautiful as’her memory of it. She will visit Paris when the
film she is making in M-G-M’s English studio is completed

... to the London she knew as a child.
But this time was different — and all the
King’s men couldn’t keep up with all
the things Elizabeth Taylor found to do

Liz enjoyed visiting her old school, Byron House. Because sh
with friends in the Cotswolds she had to miss Oxford Christmas
— bnt never missed daily exchange of letters with Glenn

guard while the new Lord Mayor was being sworn in, members
England’s oldest volunteer regiment, the Honorable Artil-
7 Company, found Liz as wonderful as she found them!

* passing Lord Mayor’s show found Liz just one of the Lon-

In first grown-up role as Bob Taylor’s wife in “Conspirator.”
Love scenes made Liz nervous — their noses got in the way!

English weather can be chilly. Liz took no chances of having the
sniffles when she met the Queen at a Command Performance

That’s June Allyson — with a tomboy’s sense of humor
and a woman’s instinct about love

SHE’S Peter Pan. But she’s also the wisest of
women with wisdom and maturity exceeding
her years. Most important, she’s in a sober
and maternal mood. Friends who drop by when
she has a day off, find her upstairs in the blue and
pink nursery, her pajama sleeves rolled up,
busily bathing the baby. “You don’t mind, do
you?” she asks. “I never get to be with her except
when I have a day off. And she knows when I’m
bathing her, too. She gets very frisky.” And June
looks adoringly at her little baby daughter with
the big blue eyes and cupid’s-bow mouth, who
resembles her foster parents so much she might
well have been their own.

“Are you laughing because you don’t think I
know anything about this?” she asks, tenderly

placing Pamela in the bassinet. Surprisingly
enough, she does know about babies and any
queries as to whether she’s been studying the
subject gets a soft, “I wanted a baby so long. If
I didn’t know how to take care of her, I should
be shot.

“You know,” she continues, “my earliest ambi-
tion was to be a nurse. I’d have been a good
nurse, too. I can talk anybody out of almost
anything.” She could, too. She could talk the
spots right off a patient’s measles ... or at least
talk him out of believing he had them. She’s very
smart with people, in her way of handling them.

“I want four children,” she goes on dreamily,
“and when I get them, I’m going to quit making
pictures. Richard reads ( Continued on page 101)

He still looks like a great big over-grown kid but it was what he had
to say that gave Louella the real measure of Van

A straight-from-the-shoulder

reply to those below-tlie-belt stories

about the Van Johnsons

Bad publicity gave Van, of “Command Decision,”
a chance to try for a different type of movie role

’

BY LOUGLLA 0. PARSONS

The stories about Van and Evie
have made a difference but not
the way rumor would have it!

Daddy’s girl, except for the freckles, Schuy-
ler Van even has the Johnson mannerisms!

rl a town of many distortions, fabulous exaggera-
tions and tissues of false rumors, I want to say
that much of the cruel est talk is that:

Van Johnson is absolutely broke.

His career is on the skids.

He and Evie are unhappy and seldom step out of
their home.

They are just waiting for all the “bad publicity”
to subside to get a divorce.

Oh, you have heard it all, I am sure. The behind-
the-hand stories about the Johnsons have been so
bitter and black that, frankly, I have been surprised
that any marriage could stand up under it. And,
yet, for two years this past January, the Johnsons
have held up under the bitterest barrage of gossip
any Hollywood couple has ever weathered.

The sideswipes at Van and Evie, printed and
spoken, have been too loud to be ignored. They
would have had to be made of stone and deaf and
dumb not to have known what was being said.

And, along with you, and you and you, I, too, have
wondered how they have ( Continued on page 104)

bette

davis

alias

Bette Davie of “June Bride brought to Holly-
wood a New England conscience, great in-
telligence and an overwhelming drive!

For Bette there is no middle road
between her career and her life
in her Laguna Beach home

BY MICHAEL MAURY

A girl named Barbara and a
guy named Bill have sent the
Queen of Hollywood about
her business — of being a
full-time lady of their house

THIS is the story of Barbara’s
Mother.

Barbara’s Mother is the most
intense woman in Hollywood.
When Barbara’s Mother is good,
she is very, very good. When Bar-
bara’s Mother is bad, she is very,
very bad.

Barbara’s Mother does nothing
halfway. You see, she has a New
England conscience, great intelli-
gence, an overwhelming drive and
enormous concentration.

Barbara’s Mother is known as
Mrs. William Sherry. Occasionally,
these days, she is also known as
Bette Davis. But she doesn’t seem
to like it. And that has a lot of
people worried.

If, when you saw and liked
“June Bride,” you walked out of
the theater and asked, “Where has
Bette Davis been all this time?”
you are entitled to know that she
was and is being Barbara’s Mother
just as intensely as she used to be
Bette Davis, queen of Hollywood.
She rather firmly believes that she
can’t be both of those people at the
same time — which helps explain
why ( Continued on page 109)

1939: Pretty to be-
gin with, Bette had
the courage to age
in “The Old Maid”

1934; As the cock-
ney waitress Mildred
in “Of Human
Bondage,” Bette
sacrificed looks and
made the role great

1939: As the plain
Queen in “Private
Lives of Elizabeth
and Essex” Bette
dared to be different

Joan Crawford, with her four adopted children, is
far different to the girl who first came to Hollywood

The few figures in the headlines

will never add up to the life that goes on
deep in the heart of Hollywood

REX HARRISON, now co-starring on Broadway in
“Anne of the Thousand Days,” has had much to say
about Hollywood. None of it good. Much of it bad.
Last November, when he was playing in Philadel-
phia, a newspaper story announced it would be hard
to find two people more bitter about Hollywood than Rex
and Lilli Palmer. It quoted Rex as saying he
hated the town, which was run by a splenetic old column-
ist, and never would make another picture there.

This, I thought, ill became him. Had he left Hollywood
with his colleagues’ plaudits ringing in his ears such
a statement, although ungracious, would have
had to be accepted as his honest opinion. But Rex
Harrison, you will remember, left Hollywood fol-
lowing Carole Landis’s suicide.

Press misinterpretations usually are corrected
instantly. In this case, however, no correction was
made for a long time. Rex proceeded to New York
where he received the excellent notices his brilliant per-
formance in “Anne of the ( Continued on page 70)

The John Agars’ chances for happiness are greater
because of >vhat Shirley learned in her early teens

Rex Harrison’s claims that Hollywood is no place for young actors
might have been more convincing if they’d been made earlier

To Claudette Colbert, Hollywood has given what
she once thought she’d left behind in Manhattan

But on the other side of the ledger is Charles Boyer, who has
morn than one reason to he grateful to the film capital

It’s the unexpected that charms in the home life
of Olivia de Havilland and Marcus Goodrich

Belvedere’s appearance on the campus draws student snickers

VVlver/e/v's ]
St /I/ Sitfind,
P<eity

Continuing the adventures of the inimit-

able Belvedere who discards his B. S.

(baby sitting) for a howling degree

SITTING PRETTY” was so popular — it was
voted Photoplay’s Gold Medal picture of
the year — that there had to be a sequel.
When Belvedere, author of “Hummingbird
Hill,” discovers he must have a college degree
to collect a $10,000 award, “Mr. Belvedere Goes
to College.” This in spite of the fact his previous
formal education was only two weeks in kinder-
garten! What happens then was never in any
college curriculum. Belvedere, as a freshman,
puts surprised sophomores through their paces,
settles the love affair of Shirley Temple and Tom
Drake and graduates with honors— leaving the
dean in a daze and the audience in hysterics.

Shirley, a reporter, spots author of “Hummingbird Hill”

It’s dislike at first sight between Belvedere and Alan Young, In a contest between freshmen and sophomores,

a sophomore with sniffles and a hatred for all freshmen rises to the occasion in a way that stops the men in

Bel

An old college custom has Belvedere taking it on the chin — when Young reports him to the sophomore council

fin Creenman and Belvedere discover there’s no life like a
ishman’s life if he has to room with sophomore Alan Young

An unexpected ending to Belvedere’s college life brings
about a happier ending for young lovers, Shirley and Tom

When twelve o’clock strikes it’s the hostess

of a party like this who emerges

SATURDAY night is party time — in Hollywood
or Timbuctoo. But wherever you live it isn’t
enough simply to give a party. The evening
should be fun for yourself as well as your guests.
The wise hostess plans a menu that keeps her in
the parlor instead of the kitchen.

The party given by Jeanette MacDonald and
Gene Raymond at their Bel-Air home is a perfect
illustration of what I mean. When the guests, John
and Marie Lund, Syd and Lynn Bari Luft, Bob
Stack and Martha Vickers, appeared, huge logs
burning in a confer fireplace gave them a cheery
welcome. The playroom has a cupboard full of
games — ranging all the way from Monopoly to
brain twisters like Anagrams. Jeanette gave the
evening an unusual twist by serving a hearty
supper at the stroke of twelve. By that time her
guests were in the mood to do it justice.

Easy does it is Jeanette’s rule for party menus
and the way the guests ate proved her a wise
hostess. On this occasion she served a supper
which featured dishes she was able to prepare
ahead of time: French dipped sandwiches, a chaf-

as the star of the evening

ing dish of piping hot gravy, marinated cole slaw
(arranged in a bowl in the large outside leaves
of the cabbage), macaroni salad, pineapple cottage
cheese cake and coffee.

French Dipped Sandwiches: Use your favorite
meat for roast — beef, pork, ham or lamb. This is
convenient, for the roast can be cooking unat-
tended while you’re having fun with your guests.
Jeanette used a leg of lamb, baked 2 hours at 300°
after being rubbed with garlic and flavored with
salt and pepper. Do not cover and do not sear —
and cook slowly so the meat will not shrink. The
searing theory, Jeanette says, is a thing of the past.
For serving, the lamb is sliced on a platter, sand-
wich thickness, and the brown un thickened juice
put in a chafing dish to keep it warm for “dunk-
ing.” French rolls, cut in half, are dipped in the
gravy on the cut side, then meat, a slice of Amer-
ican cheese and salt and pepper are placed be-
tween the roll halves.

Marinated Cole Slaw: Shred 1 medium-sized
head of cabbage, soak in ice water for one hour.
Dry thoroughly on ( Continued on page 96)

Over French dipped sandwiches, Bob Slack and Martha Vickers tell Jeanette how much
they enjoyed her recent concert. The MacDonald-Raymond English taproom features tav-
ern-type table and chairs, a collection of rare mugs, oversized candles and unusual prints

Musical chairs are back and everybody has one but
Bob, who is left with nothing but Martha’s lap to sit
on. One way to put guests at ease, says Jeanette!

Jeanette has little competition from Martha, Sid, John,
Marie or Bob when the gang gathers around the piano
for an old-fashioned community sing. Gene followed
the fun later with some of his own compositions

He lives to musical accompaniment, from the minute he gets home

It’s breakfast on the run for Farley, who hates to get up any A.M.

His house in Laurel Canyon overflows with his books and records

SUBJECT
TO CHANGE

BY MAXINE ARNOLD

It’s a wonderful life for
Farley Granger, who never knows
from one day to the next where
his dreams will lead.

HE walked out of Radio City Music Hall
into the storm. A tall youth with ex-
cited hazel eyes, a sensitive mouth,
thick dark hair. He was thrilled by the
beauty of the theater — as he was thrilled
by everything he’d seen on his first visit
to New York. But the scene that met his
eyes as he left the theater was the most
exciting of all. New York was in the
throes of an electrical storm.

Farley Granger walked through the
storm, drenched and oblivious to the
sounds of the city. He kept walking until
the storm had spent itself against the
skyscrapers.

“It was so wonderful,” he says, now re-
living it. His eyes light up in his eager-
ness to share the beauty and the drama
with you.

“Inscrutable Granger,” Farley’s friends
kiddingly call him. “Nobody can possibly
tell what you’re thinking . . . not for ten
seconds anyway.”

And Farley admits he’s emotional, to
the extent of getting “misty” when he
hears beautiful music, sees a beautiful
painting or a moving performance.

He has the ability to mirror every emo-
tion in his face and when he connects with
a character in which he really believes,
he knows he can feel it and portray it.
RKO realized ( Continued on page 99)

Fink-Smith

s4ctor by instinct: Parley Cj ranker of? (Enchantment

1. Cornel Wilde
2. Lassie
3. Frank Sinatra
4. Lucille Ball

W|HIS is the season of the year in Hollywood
I when stars lie awake at night tossing and
turning with the question, “Will I win an
award?” — a Gold Medal from Photoplay, an
Oscar from the Academy, an award from the
New York critics, from the home town paper.
Everyone wants to get into the Award Act.
Well, they can all relax. I have a whole bagful
of awards for them. There’s one for almost
everyone and for almost everything.

To Bing Crosby, I am awarding an armchair
with straps to hold his legs. So when I want
to talk to him on the set, I’ll be spared a crazy
man hunt all over the studio. Maybe I’ll add
a loud bell to tie around his neck. It would help
to hear where he is. On second thought, why
bother? Even when you do pin Bing down
physically, he’s so evasive and hard to get a
story from, it’s hardly worth the struggle.

To Joan Crawford* who was supposed to be

Plus
f'"* WiAH

dead and buried as a movie star, I award an-
other Oscar — to match the golden gentleman
she won from the Academy for “Mildred Pierce.”
I’ll never forget Joan’s courage during the two
years when she could not get work for love or
money, literally. Producers laughed when she
stood up to ask for a movie. Now, they gladly
part with $200,000 of their company’s money,
if Joan will only star for them!

For Claudette Colbert, I am giving a magic

formula to keep her forty-three years old for-
ever— because Claudette threatens to retire
from pictures when she is forty-five. The only
thing forty-ish about Claudette is her birth
certificate. She can match her figure with any
eighteen-year-old; and her face with its cute
bangs and round cheeks, too.

To Shirley Temple, for staying as sweet as she
is for nineteen sweet years, I have put in an
order for her to receive ( Continued on page 78)

5. Ava Gardner

6. Shirley Temple

7. Bob Hope

8. Sheilah Graham

No mirage — the swimming pool of Shadow Mountain Club

A junior joy-ride
for Don of “Too
Late for Tears” and
his wife Marion

V
I \

{

Most desert riders go out
in the cool of the morn-
ing but the Don DeFores,
with Bob Stack, Jane
Nigh, Cliff Henderson and
Irene Wrightsman Mc-
Evov, take their chances
in the midday sun to
visit pueblo house of
“The Desert” magazine

Two years ago there was.
nothing but desert where
you see Alfreda Steele,
Don and Marion. Jimmy
Stewart and other invest-
ors transformed it into
this glamour playground

Palm Desert, newest oasis for that tired
feeling, where refugees from Hollywood
bask in the sun and dance beneath the stars

TEN miles beyond Palm Springs, below snow-
crowned San Jacinto, is Palm Desert, an oasis
which looks for all the world like a green
jewel in a golden setting. Here glitter- weary
stars may play polo or tennis, duck hunt or skeet
shoot or ski down San Jacinto’s snowy slopes.
There’s magic in this desert cove.

At the Club, stars become
children again, shooting
the chutes, sailing
around the pool in paddle-
wheel rafts. A seventy-five

A' *4

' * i ~J ^

ttlwl if

Slil

lilil

acre fun-center in the
heart of the community,
the Club takes its name
from nearby towering
Shadow Mountain

The DeFores, Bob of
“Fighter Squadron” and
Irene in a motorized sur-
rey with the fringe on
top. Background shows
Firecliff Lodge cottages

ON numerous occasions, it has been my pleasure
to be bound by the bonds of movie matrimony
to a tall, tweedy Canadian gentleman, attached
to a pipe.

With “Julia Misbehaves,” Walter Pidgeon and I
commemorated our fifth production at Metro-
Goldwyn -Mayer as man and wife. A thoroughly
amicable arrangement which has proven as pleasant
as it has been profitable.

Speaking with the “wifely” prerogative of one so
often blessed with Walter’s blithe spirit and presence,
make no mistake about it . . . here is a rare and a
very prize Pidgeon.

Naturally, I speak as Walter’s wife in fame only.
Although, to our mutual embarrassment, many fans

have insisted on making ours a more lasting arrange-
ment. Walter tells me that in his traveling, people
are always asking about me, while I’m constantly
confronted with the question, “Is Walter Pidgeon as
nice as he seems to be?” Invariably followed by,
“Well then, why don’t you marry him?” My answer
is, “For a thoroughly delightful and charming rea-
son—Walter’s wife Ruth to whom he has been hap-
pily married for some seventeen years.”

However, I must say that working with Walter
gets better with every picture. As the husband
of Mesdames Miniver, Gladney, Parkington, Curie
and the Julia who misbehaves, he has been a
perfect picture companion. He is an experienced
trouper, an excellent actor, (Continued on page 106)

BY GREER GARSON

Wife of his real life: Mrs.
Ruth Pidgeon, to whom he’s
been married for 17 years

Walter’s singing, a
lobby now, was his
iriginal claim to fame

Walter’s a blue ribbon rogue — and mischief

maker de luxe. But he’ll be Greer’s favorite

‘‘husband” till the studio doth them part

A fine hand at tennis,
a ready wit at rhyming, his dancing
leaves Greer in a daze

ave

■ .cite .. ■ >;< ■' V v

■ ■ .
v-

Six

oCady. in cjCove: ^ ane lAJyman, bright itar of? ~J(iiS in the 2)arh

BY RUTH WATERBURY

JANE WYMAN came in with Lew Ayres.
She looked particularly beautiful in
her new, slick short bob, her utterly
plain, most chic evening dress. She didn’t
look cute, as she would have a year ago.
Instead she was subtle, poised and very
:: charming.

It was a welcome home party for Danny
Kaye after his triumphant trip to London
last November. The host and hostess were
Mr. and Mrs. William Goetz, he, the head
of Universal-International, she, the former
Edith Mayer. The guests were definitely
the inner circle of Hollywood.

Then, suddenly, Janie made an an-
nouncement. “Lew Ayres is the love of
my life,” she said, to all who cared to
listen. And heaven knows, they all did
care to listen, for she was answering the
question the whole film colony had been
speculating about for the past six months.

Lew Ayres said nothing. When Janie
spoke of her love he stayed silent; just
j puffed contentedly on his pipe. But his
eyes have spoken plenty on all occasions
and now, when he escorts Jane to parties,
1 he holds her hand all evening. Unosten-
tatiously but firmly.

It was exactly a year ago that Jane and
Ronnie Reagan separated, after three
former partings and reconciliations. Ron-
nie said then, “It’s a very strange girl
Fm married to, but I love her. She went
back to work too soon after the death of
our baby, and this picture ‘Johnny Be-
linda,’ has been a terrible strain on her.
But I know we will end our lives to-
i gether.”

Jane refused to talk at that time. She
filed her divorce action, redrew it, filed
it once more. When finally she did go into

! court she confided to her closest friend,
“1 know I’m going to look like the heavy,
divorcing the all-American boy.” Yet her
friends also knew that she had gone
ij through the greatest travail, deciding upon
the divorce. She was worried about their
children. She is a very fine mother and
as she also told her confidants, “I’m in
a situation lots of women are in. I
don’t know whether it is better for the
children’s sakes ( Continued on page 79)

But there was nothing romantic about the way it

began — when the mutual dislike of Jane Wyman

and Lew Ayres nearly caused a studio upheaval

Lew and Jane now don’t care who knows they care — dine out often.
At Mayfair Room, Ginger Rogers (Lew’s ex) sat behind them

YOUR

PHOTOPLAY

sther Williams

BEN AND ESTHER PLANNED
A WEEK'S HONEYMOON IN
MEXICO BEFORE SHE STARTED
HER PICTURETHERE.NO ONE
WAS TO KNOW ABOUT IT--
NOT EVEN THEIR FAMILIES/
IT ALL SOUNDED SO-O EASY..

WE'LL STAY AT TAND WE'LL

THE REFORMA JBE JUST LIKE
HOTEL. ANY OTHER

HONEYMOONERS/

'Hi

ESTHER WILLIAMS AND BEN GAGE WERE MARRIED
QUIETLY AT THE HOME OF ESTHER'S FRIEND, MALVINA
PUMPHREY.

IT BEGAN TO LOOK AS IF
THEIR HONEYMOON WERE
A MEXICAN HOLIDAY/WHEN
THEY VENTURED OUT TO
THE RACES, ESTHER WAS
RECOGNIZED INSTANTLY.
ALL BEN COULD SEE OF
HIS BRIDE WAS PRESS
PHOTOGRAPHERS/

NEXT DAY IT WAS THE SAME
THING. EVERYWHERE THEY
WENT--CROWDS/“SOME

SECRET HONEYMOON/".

GROANED BEN.

HOLLYWOOD STAR ADVENTURES TOLD IN COMICS

THE NEXT MORNING AN ASSISTANT
DIRECTOR FROM THE "FIESTA"
COMPANY HIT THE HOTEL ROOF/

SORRY, MISS SHE CHECKED
WILLIAMS ISN’T \ OUT 7 THAT'S
HERE/ SHE I NOT POSSIBLE...
CHECKED OUT/ J SHE STARTS

BUT... BRIGHT AND EARLY MONDAY MORNING,
TWO GRINNING FIGURES GREETED THE
DIRECTOR....

WHERE HAVE YOU
BEEN? I'VE BEEN
GOING CRAZY THE
LAST THREE DAYS/

ome

the girls

by eclitk gwynn

Hollywood goes to town with some

smart new remedies for

winter wardrobe woes

IOOK at the lovely “suddenly it’s
I spring” dress of Jennifer Jones, one
of Photoplay’s Gold Medal Award
winners. It’s a Mainbocher frock of
white organdy with an all-over em-
broidery and eyelet design. The trim,
yet feminine, gown is full skirted —
floor length. The filmy organdy is over
a pale, yet bright -enough -to -show -
through slip of mauve. The grosgrain
belt is of a deeper mauve, almost plum
color. And the dainty flowers at the
waist range through pale pink, mauve,
violet and purple. Jennifer wears only
her four-strand choker of pearls above
its high, round neckline, to soften the
effect of her short hair-do.

Spring is also a wonderful time to
be thinking about cardigans, now that
cardigans have gone glamorous. This
year you can do all sorts of things with
these outfits. Why not combine that
pastel or brightly colored suit with the
coat (which can be converted) or the
cardigan of an old wool, flannel or
knitted costume of a blending or dark
color. Take the pink, blue or printed
dress or ( Continued cm page 90 )

Jennifer Jones, winner of a Photoplay
award as one of nation’s five
leading ladies, salutes the season
in Parisian style with eyelet
embroidered organdy

Back of beautiful distinction like Mrs. Drexel’s is always perfect grooming

Her Lovely Face shows you
the gracious charm that is
her Inner Self

Famous for her vivid starry beauty, the
world responds to Mrs. Drexel’s love-
liness wherever she goes. The minute
that you see her, you are aware of her
inner serenity, of the cultured, friendly
charm that is the keynote of her
exquisite self.

Your face is the only You that others
actually see. It is the You they first take
to their hearts. It is the You that they
remember best. Do, then, help your face
to say only pleasing, lovely things about
you. Its loveliness, its charm, rest very
- much with what you do for it.

“Ith

; Let your face show you to others as the
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Hot Stimulation — splash face with hot water.
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Cream Rinse — swirl on a second Pond’s cream-
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Cold Stimulation — a tonic cold water splash.

ink its a superb cream — the best I know,
Mrs. Drexel says

This "Outside-Inside” Face Treatment
literally acts on both sides of your skin.
From the Outside — Pond’s Cold Cream
softens and sweeps away surface dirt and
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Never feel it is merely vanity to develop
the beauty of your own face. When you
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Home Sweet

( Continued from page 50) Thousand Days”
warrants. And it was not until late De-
cember that an interview with Rex ap-
peared in the Sunday drama section of the
New York Times, in which he claimed his
press interviews were interpreted in a
manner far from his original meaning, that
what he said was: “First, I don’t consider
Hollywood the ideal or suitable place for a
young actor to learn his business. On the
other hand, I consider the theater a much
more satisfactory training ground.

“I am far happier in a play on Broad-
way than in a film in Hollywood. I have
not made a choice between the two media
of expression. I am not renouncing films.
No, it is far simpler than that. I like New
York City better than Los Angeles as a
place in which to live and work.

“I have been quoted as saying Holly-
wood is dead . . . which is quite untrue.
Hollywood is far from dead . . . but who
can deny that it is seriously ill. I have
not attempted to define the malady nor
can I suggest a cure. It is undeniable that
many factors contribute. Censorship and
problems of financing top-heavy produc-
tion setups and other things that are more
in the realm of an accountant than an
actor.”

CYNICALLY, perhaps, I am convinced Mr.

Harrison’s statement — a half-hearted
retraction at best — was issued only after
pressure had been brought to bear uoon
him by those interested in his public
relations. Also, it is most unlikely that
more than one writer would misinterpret
an actor’s meaning. But the “press inter-
views” mentioned indicate the misinter-
pretation was general.

I find it a great pity when those who
represent Hollywood contribute to the
general misconception which exists about
it. One can only be grateful that the
town’s disgruntled citizens are decidedly
in the minority.

On the other side of the ledger from
Rex Harrison there is Charles Boyer. Fol-
lowing the Broadway premiere of “Red
Gloves” in which Charles stars, he gave
a party at the Stork Club. John Dali, also
in “Red Gloves,” was there among others,
and Mr. and Mrs. Walter Pidgeon, and
Rouben Mamoulian. And Pat Boyer, I
thought, was a delightful hostess, so care-
ful to seat the right people together.

“Well, Charles,” I said, “does your suc-
cess in this play mean you are through
with movies — that the press may expect
vitriolic statements from you about the
climate, producers, columnists and home-

Hollywood

life of Hollywood?”

“No, no, Elsa!” He refused to be swayed
by the general laughter. Seriously he
shook his head. “I am grateful to Holly-
wood. Devoted to it. Indeed, I would be
an ingrate were I to feel otherwise about
the place in which I have found good work
to do, my wife, my son, my home. Never
think — because I have taken time out to
act on the New York stage — that Holly-
wood is not still my home.”

It depends upon who talks of Hollywood,
you see, whether it is presented as a
morass of self-indulgent fools or the quiet
home-town that it actually is. For it is
the home-life offered by movie work that
weans one stage star after another from
the theater and the excitement of working
before a live audience.

Never will I forget the day Claudette
Colbert left New York to work in the
coast studios. She entrained weeping.
“I’ll keep my Manhattan apartment, of
course,” she said. “Maybe it won’t be too
horrible. After all, when I’m working, all
I do is go home to sleep. And between
pictures, naturally, I’ll be in New York.”

Now Claudette comes to New York once
a year — sometimes. In Holmby Hills she
finds life good. If the film colony was
silly enough to have a “400,” she would be
of it. She loves her big white house and
the friendships she and her husband, Doc-
tor Joel Pressman, enjoy with his medical
and scientific colleagues, the Gary Coopers,
the William Goetzes. Today Claudette —
you have only to see her to be convinced
of it — is happier than she ever was before.

Clifton Webb is the latest Hollywood
convert. Clifton went there first, years
ago, to makes a picture with Joan Craw-
ford. But Metro’s executives did not like
his tests, so he never got to play with Joan,
whom he adores. His five-year contract
paid him handsomely, something over two
hundred thousand dollars a year, as I re-
member it. So he was in a position to
sit and wait. But after two and a half
years of sitting, he was so hurt and so
bored that he announced, as quietly and
caustically as is his wont, that he was
through with Hollywood forever.

“Neither my mother, Mabel, who man-
ages my affairs, nor I, look down our noses
at money,” he said. “But I no longer can
take all this money for nothing. Besides,
I detest Hollywood. I’m going back to
New York and the stage!”

So Clifton came back to New York. A
change was made, however. No longer,
apparently, was he happy to live in the
city. He moved ( Continued on page 72)

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( Continued from page 70) the beautiful
furniture and books and pictures he and
his mother have collected over the years to
an old remodelled house in Connecticut—
and loved it! They watched the young trees
they put in, grow, and the gardens they
planted, become more beautiful with every
springtime. Their friends loved the place,
too. It became a weekend Mecca for the
stars of the theater and the literary and
musical worlds.

“A reclaimed strip of desert, Holly-
wood!” he continued to scoff, remembering
how the studios had slighted him.

But, more and more, I noticed he lis-
tened with interest when anyone of us
talked of Hollywood, asked nostalgic ques-
tions, too.

“Where is the nicest place to live now?”
“Are the big budget pictures making
money?” “What and who is new and
amusing?”

I was, consequently, not too amazed
when I found Clifton and Mabel — and
their much traveled luggage — stashed
away on the Super Chief.

“It’s only for a visit,” exclaimed Clifton
vehemently and unnecessarily.

During that “visit” he played the de-
cadent columnist in “Laura,” the social
lion in “Razor’s Edge,” the baby sitter in
Photoplay’s Gold Medal picture for 1948
“Sitting Pretty.” He finally telephoned his
broker to sell his Connecticut house. He
and Mabel, he said, were returning to over-
see the packing of their possessions.

“Elsa,” he told me, “it is no use to pre-
tend otherwise. I love it out there. The life,
the work, the charming, stimulating peo-
ple— and the house I've bought! Wait
until you see it!”

Again I wasn’t surprised. I’ve seen the
same thing happen so many times . . .

BETTE DAVIS thought she would like to
get away from it all. In the summer of
1939, she bought a place in her native New
England, an old house with red barns. She
filled it with such pine and maple furni-
ture and such gay hand-loomed stuff and
English chintzes, as her fathers and fore-
fathers had furnished similar homes.

“This is my native land, where I was
born and bred,” she announced dramati-
cally to all who would listen. “This is
where I will live between pictures. This
is where I will retire in my old age. There
will be snow in winter. My neighbors will
be simple people!”

Now, nearly ten years later, “Butternut”
is for sale and Bette is unpacking the fur-
niture and books and pictures, the milk
glass and brass and copper that filled its
rooms. These things will be charming, too,
in the house at Laguna when the barrels
and excelsior have been carted away.

There’s Ethel Barrymore! For all of her
sixty years, when Ethel was not on tour,
she lived in New York. She is a product
of New York, the queen of the stage’s
royal family. But today, you could not
pry her away from the film colony.

“I make more money here than I do
on the stage,’’ she says, with her wonderful
throaty laugh “1 like the work. In spite
of all the horrible things I have heard
about motion picture producers, I have
been permitted to play many interesting
roles quite as honestly as I would have
played them on Broadway.

“And certainly, at my age, it stands to
reason I must benefit by a climate that
has cured my brother, Lionel, of his
frightful arthritis — he is walking again
for the first time in over ten years.”

Ethel Barrymore might say “Oh, this
wicked place! It ruined my brother
John’s life!” But being a wise, intelligent
woman she refuses to believe anything of
the kind.

Search the world and you will not find
a pleasanter, saner or happier home than
that of the John Agars. Yet Shirley Tem-
ple, the young mistress of this home, is a
Hollywood product. She has been a star
since she was five years old — and she
worked in the motion picture studios be-
fore that.

I venture to predict that the Agars will
live happily forever after. Because they’re
realistic about their love for each other
and their Linda Susan. Because they’re
realistic, too, about their separate careers.
But perhaps, above all, because Shirley’s
image of herself is not that of a great star
but that of a woman with a happy home
and family. This image, I think, was born
when, in her early teens, Shirley went to
the Westlake School. A star at this time,
she found her schoolmates, with their
normal sheltered lives, far more glamorous
and attractive than any hard-working
actress.

There’s also Olivia de Havilland, or Mrs.
Marcus Goodrich, as she prefers to be
called. Afternoon tea with Olivia and
Marcus, who. you know, is a novelist of
distinction, is the most un-Hollywoodish
thing imaginable — if you share the popular
and erroneous conception of Hollywood.
The tea, the scones, the fire, the quiet
beauty of the hostess, the “bookish” talk
which is good talk, not dull, is far more
what you would expect of an English
country family than what you are asked to
expect of a movie star living on top of one
of the Beverly Hills.

Speaking of the English pattern of living,
Cary Grant achieves it when he is in
residence at the beach house he leases. His
dinners have a casual elegance. His week-
end parties, too. ( Continued on page 74)

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( Continued from page 72) He does not
monitor his guests. They breakfast when
and as they wish. And come and go as
they please. All that is possible for then-
pleasure and comfort is done. But Cary
proceeds on the happy assumption that his
guests are adults with ideas of their own.
No wonder Noel Coward makes a streak
for Cary’s, the moment he alights from
train or plane on California soil.

It was unfortunate, but inevitable, that
Cary’s marriage to Barbara Hutton should
not work out happily for either of them.
Barbara hated Hollywood, seemed to have
no understanding or tolerance for a so-|
ciety of workers. Hollywood, young,1 <
healthy and energetic, was a strange land:
to the richest little girl in the world, who
long has frequented a much older and :
sometimes decadent world. And she has
never forgiven those she met there, in-
cluding Cary, I think, for being too busy
to render her that importance to which she
is accustomed.

It isn’t always so easy to analyze why I
people do not like Hollywood. And it is
never a simple matter to determine why,
although the majority take the town and;
its fruits in their stride, there always are
others — like Errol Flynn; Frances Farmer, a
upon whom Hollywood acted exactly like 1
a poison; Robert Walker and Robert
Mitchum, who become so confused that
they take to alcohol, marijuana or ego- 1
mania. Of course these are the culprits
who contribute to the wrong impression ■
of the town.

IS to who can and who cannot take !

Hollywood in stride no rule seems to
apply . . .

Of those named above, Errol Flynn and
Robert Walker at least come from back- |
grounds of social and financial security. I
Joan Crawford, on the contrary, who is
very honest about the meagerness of her
youth, has grown with her career. There
are times when Joan, like any great indi- I
vidual, can be utterly exasperating. But
there’s never a time when she’s not a
colorful and exciting woman. Her home i
is truly beautiful. She entertains like a
dream. Her utter devotion to her four |
adopted children and her determination
to bring them up to be well-adjusted,
happy, responsible men and women is
exemplary.

But then the things I say about Joan
might be said, in some measure, about most
Hollywood citizens. I never leave the
town, in fact, without the exhilaration that
comes from association with men and
women who are at their peak, mentally
and physically.

I would not, I confess, wish to settle1
down in the film colony — or anywhere else
for that matter. I like to move about. But
I would be sad, indeed, could I not spend
part of each year in Hollywood. And the
Hollywood I love is not, I assure you, the
lurid place of newspaper headlines. It is
a “reclaimed strip of desert” lying between,
the Sierra Nevadas and the sea, where
there are as many beautiful homes — in
which families live as quietly and con-
tentedly as is compatible with human
nature — and more charming, hard-working
men and women to the square mile than
any other place in the world.

For, whatever those like Rex Harrison
disgruntled because Hollywood has losl
interest in them, may caterwaul to the
contrary, to most of its citizens and visitors '
the film colony will continue to be . . .
Home Sweet Hollywood!

The End

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What Should I Do?

( Continued from, page 8)

Dear Miss Colbert:

You will probably remember hearing
from me some time ago. Through your
column in Photoplay, I received a great
many dolls, toys, children’s clothing, and
other helpful things. Last year I repaired
and dressed 159 dolls for the local Chil-
dren’s Hospital and for orphanages. This
year I was able to give 215.

I do want to keep on fixing the dolls,
so once again I will appreciate it if you
will publish my name and address so that
those of your readers who have cast-off
toys which I can repair and pass on to
brighten the life of a lonely or shut-in
child, will forward them to me.

Mrs. Vaughn E. Seid
3535 Delgany Street
Denver, Colorado i

/ am deeply gratified to know that the i
readers of this column have been so help -
ful and / am happy to print your appeal i
a second time.

Claudette Colbert

Dear Miss Colbert:

I was a juvenile delinquent. There was |
a time in my life when no matter how I
hard I tried I always seemed to get into I
trouble. Then I met my husband and i
straightened myself out. Before we were
married my husband wanted to know all
about me, so I told him. I wanted to
start fresh and begin our life right.

We have been married over a year and |
he is always nagging me about my past, ;
He accuses me of terrible things. I can’t
work because he comes to my job and
claims I am flirting with the men I work
with. Then I get fired.

He won’t divorce me, and I do not want
a divorce if I can make our marriage a
success. I love him and have tried every- 'i
thing possible to prove it to him.

Is there any way to handle this that I j
have overlooked? Joyce S.

I believe your best move now is to take
a firm stand. Tell your husband that you
love him, that you do not want to divorce
him, that you learned your bitter lessons i
as a youngster, and that you intend to
live a clean, self-respecting life.

Then tell him that you will endure no (
more of his torment. Get a job. Keep
regular hours and let your husband know \
where you are going to be and exactly I
what your routine is.

If he is convinced that you have steel
in your spine and that you intend to be
shown the respect to which you have a
right, I think he will stop his childishness, I
Claudette Colbert

CUXfc=^- ======^JJUJ*

Have you a problem which
seems to have no solution?
Would you like the thought-
ful advice of

C^iaudette

ColU?

If you would, write to her in
care of Photoplay, 321 S.
Beverly Drive, Beverly Hills,
Cal., and if Mis9 Colbert
feels that your problem is of |
general interest, she’ll consid-
er answering it here. Names
and addresses will be held con-
fidential for your protection.

-rrrrv=

Are you in the know ?

How to cope with a
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□ Fight it

□ Favor it

□ Forget it

What "new note" does this
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□ Back interest

□ A break for tall teens

□ Another beauty ritual

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should friends —

□ Go dumb

□ Keep talking

□ Comment on the conversation

Ornery critters — cowlicks. You can neither
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When buying
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^ C*P needs,

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□ Wait 'til next time

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Come and Get It

( Continued from page 59) a real Oscar — I
mean a boy. Shirley wants three children
— first a little girl, which she has, then a
little boy, followed with another girl. I
wish her luck three times over.

To Frank Sinatra, I award a new crop of
bobby-soxers. The old screamers are now
in their sedate twenties. And without that
hullabaloo, Frankie’s voice doesn’t seem
quite so potent. Am I right?

I wish I had the power to award Clark
Gable a woman to replace his beloved
Carole Lombard. It’s sad to see Clark
in the night spots with this and that
charmer, kidding himself he is having a
good time. Only the girl has a good time,
because it’s one sure way of getting her
name in the papers. It helps her career.
Clark really prefers the great outdoors.

Larry Parks has just finished his second
Jolson movie. I award him the wish that
from now on he will carve an even stronger
career for himself — as Larry Parks.

TO Diana Lynn, who was always a fian-
cee, and now finally a bride, I award
the great gift of handling a career and a
marriage successfully. It isn’t easy, as
Diana will discover.

Elizabeth Taylor has the world at her
feet. She’s breathtakingly beautiful, she’s
co-starring with Robert Taylor, she’s in
love and loved by Army football hero
Glenn Davis. What more can any girl
want? I’m giving it to her anyway — a
sense of balance. Without it, her God-and-
man -given gifts will blow up in her fas-
cinating face.

For Peter Lawford, perennial third
angle in the triangle, always the boy friend,
never the groom, I award a small piece of
wedding cake.

To Rita Hayworth, I award a refill of
common sense. Rita needs it badly for
risking career annihilation. Or what else
would you call those “coincidental” dates
with Prince Aly Khan in Mexico and
Havana and aboard the S.S. Britannic on
which they sailed together, letting him
smash up cameras when working photog-
raphers try to take pictures. (Aside to
Rita — you have worked too hard and too
long to throw your career away in this
nonsensical manner.)

Gene Kelly gets another baby from the
Graham Award department. Gene and wife
Betsy do not believe in an only child —
which their six-year-old Kerry is.

Bob Hope gets a complete first aid kit
and a book titled “How Not to Have Acci-
dents.” Bob has had three baddies in the
past six months. First, he swallowed a
fish bone and almost choked to death.
Then, he severely injured a muscle in his
leg, while chasing Rhonda Fleming up and
down a gangplank for their picture “Easy
Does It.” And during a scene for the same
movie, when Bob put a lighted cigarette in
his pocket, a box of matches exploded and
he suffered third degree burns on his
hand!

To Cornel Wilde — the Dale Carnegie
best seller “How to Win Friends and In-
fluence People”! Cornel, who is a sweet
guy when you know him, has made too
many enemies at the studios.

Lana Turner is awarded a box of reduc-
ing pills, or a small piece of will power.
To prevent a recurrence of those candid
Lana snapshots, invariably printed in that
prejudiced weekly national magazine. But
what makes me mad is when Lana’s pals
insist, “Lana hasn’t gained a pound.”

To Joan Fontaine and Olivia de Havil-
land — a new thick skin to cover that Kip-

ling quotation “Sisters under the Skin!”

Alan Ladd and Sue Carol get a big slit j
of pie for being so cute in their interview I
— usually titled something like “I Lov ,
Alan Ladd” or “I Love Sue Carol.”

Janet Leigh gets the highest Grahai |
accolade — a hug and a kiss for being sue i
an absolute darling in the face of he j
meteoric rise to stardom. Everyone love
Janet. May she never change!

To Tyrone Power, the six children h
wants to have. Ty has been wonderful t
Anne, the now grown-up daughter of h
first wife Annabella. He adopted her an
supported her, even after the divorce.

Greer Garson is not one-half as ambi t
tious or one-tenth as driving as she use
to be about her movie career. But she i
still a great actress and it still hurts whe 1
her name is omitted from the firsts i
popularity. So I now award her one mor
Oscar to climax her career.

To Sir Laurence Olivier, my thanks fc
the greatest screen performance of all timi
his marvelous “Hamlet.” And to his wif
Vivien Leigh, my wish that her health wi
soon be good enough for her to resum
acting on a full time basis — with her won
derful husband.

To Farley Granger — a skeptical smile-
for so far resisting the younger feminin
set on the subject of matrimony. With th i
pressure now coming from a certain prett
brunette starlet, it won’t be too long befor
Farley takes that important walk dow -
the aisle.

For Lucille Ball, the baby she wants s,
much ... To Victor Mature, a special awar
for the very special job of public relation
Vic does for Vic ... I award Cary Gran
to Betsy Drake — they make sweet picture
together!

When Kathryn Grayson gave Johnni '
Johnston his marching papers recently,
called Katie to find out “Why?” And t
start the difficult conversation, I saic
“Kathryn, I hear you and Johnnie had
lot of battles.” “Sure we did,” she repliec
“But that isn’t why we parted. It’s becaus
Johnnie talked too darn much to the pres;

If he hadn’t broadcast about our quarrel;
we never would have separated. One
something like that gets into the paper:
your pride comes into it and it’s very har
to make up.” So to Mr. Johnston I awar
a muzzle to wear in public.

Spencer Tracy is the grouchiest mem
ber of the old guard in Hollywood. T
Mr. Tracy, I award one lump of sugar to b
taken three times daily to sweeten his cu
of life.

Ava Gardner gets a big box of vitamin;
Ava is always tired, very often ill. Sh
catches cold at the drop of a sneeze. An
how is she going to be the big star we al
expect if she lacks the physical drivin
force to carry her onward and upward t
the stars?

To Ann Sothern, a new husband. An:
very much wants to marry again.

I’d like to give Judy Garland a ver
special award for being the best song
plugger in the business. She’s even bette
than Alice Faye used to be. And it i
ridiculous that Judy has so far failed t
snag an Oscar for her great singing, danc
ing and acting.

To Lassie — a golden bone, for saving s
many M-G-M pictures.

And to all Hollywood columnists, an em
broidered sampler with this section c
Abraham Lincoln’s Gettysburg address-
“The world will little note nor long re
member what we say here!”

The End

fjor (^Photoplay cdasli ions in (P}olor dee cPPage 8$

This Is a Love Story

continued from page 65) to hold an
e pty marriage together, or to start afresh
£i hope lor future happiness.”

t has been granted that the difference
tween her career and Ronnie’s had a
g;at deal to do with their initial breach.
I girl can possibly be a fine actress with-
er being fascinated by her own por-
tyals, and no man can watch his wife
t;ome important, without trying to save
t face. Ronnie did the perfectly natural
t ng. He became immersed in outside
aivities. The Guild, politics, even his old
clege held his attention more and more.
Emtually the Reagans were left with
vy little in common to discuss except
t ir expected baby.

[Jaut that was almost enough. They both
vnted the new baby with all their hearts.
Jie, however, had a tough pregnancy, and
tl final blow was the baby’s death im-
rrdiately after its premature birth.

IECE many other women involved in sim-
ilar tragedy, Jane sought surcease in
vrk. The demanding role of Belinda
ys ready. She plunged into it, and it
V 5 then she met Lew Ayres.

,ew heartily disliked the idea of play-
ij opposite Jane when this was first sug-
glted. However, his dislike of Jane’s
virk was only equalled by her aversion
tc'his. The man who brought all this
|fut, who, in fact, insisted on casting
J e as Belinda and Lew as the compas-
jiiate doctor, was producer Jerry Wald
j: Warners.

le told Jane about Lew first. “Oh, no,”
jji said. “Not Lew Ayres. Can’t you get
J eph Cotten?”

ew in turn snorted at the idea of Jane,
pat cutie?” he said, “She’ll never do.
||i’t you get Teresa Wright?”

ew was unable to see Janie in the role
91 the sensitive deaf mute, Belinda. He
k t remembering her as the dizzy little
bade character she played in so many
Pictures.

hat reaction to Jane wasn’t unusual.
Ren Charles Brackett was about to
luce “The Lost Weekend,” he insisted
in Jane to play the girl on the
t ngth of her un-cute performance in
incess O’Rourke.” Paramount told
ckett he was crazy. But he insisted
]. the girl in this picture had to look
the average American girl; be bright,
Knal, and possessed of a sense of
nor, even if in her unswerving love
:o an alcoholic, she got small chance to
iw it. He finally got his way, the pic-
lu: won an Academy Award, and Jane’s
Jt k went up higher than a thermometer
in he midsummer’s sun. She was chosen
nplay Ma Baxter in “The Yearling,”
iv ch won her an Academy nomination,
M then Jerry Wald decided she was the
>rr girl in the world for Belinda. Lew
irjably didn’t see Jane’s fine perform -
ttiis in these films.

i t first, Jane and Lew, who finally
aped to play opposite one another only
atmse they were told they’d do it or go
>r suspension, barely spoke to one an-
rtir. As the mute girl, Jane had no
li ague, and in the interests of her art,
;h subjected herself to great strain. This
Vi due to her having made herself deaf
kng her acting scenes. She really
o dn’t hear the slightest sound. It was
lea by special ear plugs, made for her
doctor. They shut her into the world
if ilence that the totally deaf know. That
isning look you see on her face in
Jinny Belinda” is genuine. She was
frning to catch every word. The result
,v; wonderful for her performance but
wring on her temperament,
badually she and Lew drifted into

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lunching together, as most co-stars do
during production. At first their conver-
sations were completely impersonal. And
this is no whitewash — they never had a
date of any sort together until well after
Jane and Ronnie had separated.

Lew Ayres understands high-strung,
temperamental women. He has been
married to two of them — Ginger Rogers
and Lola Lane. He knows temperament
in its true meaning — not that of tantrums,
but in its tensions, its dreams, its idealism.
He knows all about stardom — having been
a very great star at the start of his career,
twenty years ago, when he made “All
Quiet on the Western Front.” He knows
the “lows” between, having experienced
them during the thirties. He knew the
war at first hand. And he knew, too, the
shabbiness of Hollywood when it deserted
him, when the war started and when he
refused to bear arms. He was a conscien- i
tious objector, but he joined up in the
medical corps.

IEW, himself, has never told this story. It
was some of the men who fought with
him who brought it back to Hollywood.
As a medic, he could not carry arms. But
when the landing barges would be coming
in and the Japs would be tossing plenty i
of live lead at them, Lew would make the
men laugh. He’d say, “Well, in a picture,
this would be where I’d send in my
double.” Then he’d hit the beach, just
like the other doughfeet.

When the “Johnny Belinda” company
went to Fort Bragg on location, Lew
taught Jane something about painting and
sketching which he has been doing for
years. Back at the studio, he brought her
books which particularly interested him.
For always, Lew has been a student.

Yet it is perfectly possible that over
and beyond his charm and intelligence,
the quality that Lew possesses that means
most to Jane, is his complete serenity.
He’s always had that quality. Years ago,
he bought a simple little house on top of
one of Hollywood’s highest mountains.
He still lives there. Billy Bakewell was
his best friend then. Billy Bakewell is
his best friend now. Hollywood, which at
the beginning of the war had denounced
him, swarmed over him when he came
back, a quiet hero. Lew accepted both
attitudes. He just smiled and stayed
silent. If he was originally hurt and
angered — which would have been only
human — he certainly never has said so.

Such a man is very rare, anywhere on
earth, but he is outstandingly rare in
Hollywood. Another thing, too, is that
Lew has done very nicely financially. He
has always made a high salary, but his
desires are very simple.

Jane Wyman has become an artist dur-
ing the last few years. She has expe-
rienced both personal suffering and great,
artistic satisfaction. No ordinary man
would understand her. But Lew is an
extraordinary person, both idealistic and
worldly, both sensitive and sensible.

They probably will be married this
summer when Jane’s divorce becomes
final. Lew has had Jane down to meet
his family. They now are going openly
everywhere together, and exclusively with
one another. Yet most of the time, no one
sees them because they are alone together,
talking, reading, studying, painting.

It was Balzac who said that there are
rapid loves that start in the heart and go
to the head. They blaze excitingly and
briefly But the loves that last, are those
that start in the head and go to the heart.
He was a very wise man, that Mr. Balzac,
and he knew a lot about people.

It sounds as though the latter love is
the kind that Jane Wyman feels for Lew
when she says he is the love of her life.
The End

BY ERSKINE JOHNSON

Tune in Ershine Johnson's “ Hollywood
Story,” Mutual Broadcasting System,
Wednesday, 9:30 p.m,, E.S.T,

JACK BENNY’S comment after it was an-
nounced that he would switch from NBC
to CBS: “I wonder if CBS has a free park-
ing lot?”

* * *

Keenan Wynn- “She said she felt like a
young colt, but she looked more like a .45.”
* * *

George Jessel, toastmaster par excel-
lence, called Greer Garson on the phone
and for the first time in his life was at a
loss for words.

“I must be stuck on you,” said George,
“I can’t think of a thing to say.”

“Oh, come now,” said Greer, “just pre-
tend I’m a benefit.”

* * *

Raving about the performance Larry
Parks gives in “Jolson Sings Again," A1
Jolson is telling friends:

“I’m a lot better in the sequel than I
was in the first picture.”

* * *

A doll who had had one too many
was heckling comic Phil Foster at a Holly-
wood night club. Phil raised his hands,
asked for quiet and said: “Ladies and
gentlemen, I’d like to introduce a young
lady who is very famous.. You have seen
and heard her many times — tonight.”

* * *

Mike Curtiz: “I don’t care what the
people like so long as the audience
likes it.”

* * *

Groucho Marx was asked what role he
was playing in his new picture, “It’s Only
Money.” “I’m not sure,” he said, “but I’d
really like to play the money.”'

* * *

It was suggested to Gracie Allen, who

dabbles at writing, that she might one day
win the Pulitzer Prize. “Goodness, no,”
said Gracie. “Not me. I don’t know how
to pulitz.”

* *

Audie Murphy, the most decorated hero
of World War II, prefers not to talk about
his heroic deeds, but he does like to tell
this story: He was at the front directing,
by phone, artillery fire for a battery three
miles behind the lines. The Germans were
rapidly advancing and a nervous artillery
officer kept asking Audie:

“How close are they now?”

Finally, the Germans got too close even
for the indestructible Mr. Murphy and as
the nervous artillery officer asked again,
“How close are they now?” Audie spoke
into his phone: “Just a minute, sir. I’ll let
you talk to one of them.” “And then,” said
Audie, “I threw the telephone away and
ran like the devil.”

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Name

Address

City ! Zone State

Age Dress She

Peggy Thorndike

Jack Force Jr.

Jerry Ehrlich
Oppee

Editor

Art Director

Photographers

Beautiful Janet Leigh plays the
part of Meg in M-G-M’s “Little Wo-
men”

Fashion says “Wear a tweed suit” and
here is a wonderful one by Junior-Deb.
The flare-back, high-collared jacket is
the newest length and the skirt is di-
vinely slimming. Donegal tweed in
sizes 7-15. $39.95 at Abraham &
Straus, Brooklyn, N. Y., and Denver
Dry Goods Go., Denver, Colo.

A Jean Allen straw tarn by Gage.
About $5.00

Navy suede and calf shoes by Town
and Country. $9.95
String gloves by Wear-Right. $2.00
Colored luggage by Kessler

For store nearest you write direct to
manufacturer listed on page 89.

Ella Raines, the very chic and provocative star of United Artists’ “Impact”

Left A soft short jacket and a beau-
tifully detailed skirt make this rayon
gabardine suit by del Mar perfect for
“anywhere.” High and dark spring
shades. Sizes 10-18. $25.00 at Stern
Bros., New York, N. Y., and Frost Bros.,
San Antonio, Tex. Felt cap by Madcaps.

Right Tailored to a queen’s taste is
this glen plaid suit by Lou Schneider.
The fitted jacket and slim skirt will
walk you smartly into spring. Sizes
10-20. Under $35.00 at Kaufmann’s,
Pittsburgh, Pa., and Rich’s, Atlanta,
Ga. Suede hat by Betmar.

By Land

For store nearest you write direct to manufacturer listed on page 89

The snows will soon be melting now
and there will soon be spring in the
air. All this means you'll want to pin
a real flower on your coat, wear spank-
ing white gloves and blossom out in a
pretty new bonnet. Maybe you can’t
buy a whole new wardrobe but you
can, with a little imagination, fool
your public into thinking you have.

Anchor your beret or small hat atop

your head with ribbons and tie it un-
der your chin for the newest in hat
fashions. Tie with a length of tulle
for “dress up.”

Buy a length of leopard print fab-
ric and make yourself a stole and tur-
ban to wear with a solid color suit
or a dark dress. Haven’t you noticed
how right the leopard looks as a
springtime accessory?

PHOTOPLAY’S

Sj^Li

%sy$T

Lizabeth Scott S dress designed by Adele Palmer for “Too Late fo
Tears,” a Hunt Stromberg Production filmed at Republic for Unite<
Artists’ release.

If you have a flair for the dramatic, you’ll want this deceptively simpl<
dress. It’s a perfect background, too, for jewelry, scarves and yon
most interesting belt. Ameritex have a smart iridescent rayon shantuni
called “Chin-Shan” which would be a lovely fabric for this dress. I
comes plain or printed with a charming Chinese motif. The colors ar< j
cloudy pastels or the deeper rich tones.

"Ml

A DELE PALME It

designer of Lizabeth Scott’s
dress in “Too Late for Tears”

Adele Palmer, as youthful and gay as
the clothes she designs for Republic,
believes versatility is one of the most
important factors in smartness. This is
typified in the dress we have selected
as our Pattern of the Month. Miss
Palmer feels it is the kind of dress
that humors every mood, for it may be
dressed up or down.

Lizabeth Scott has a flair for the
dramatic — hence the medallion which
dangles from the belt of this dress.
Miss Palmer is a firm advocate of
“conversation pieces” such as the
wearing of a huge medallion instead
of a necklace or dangling it from the
belt for a change. She suggests drama-
tizing a classically simple dress with
three rhinestone birds in flight across
the shoulder line.

Adele sounds a warning, however,
that what is a “conversation piece”
one day may become a fad the next
and, as such, is automatically banned
from the smart woman’s wardrobe.
“The first girl who wore gold sandals
in her patio had a real conversation
piece,” says Adele. “The five-thou-
sandth is merely a follower of fads.”

Stores Selling Photoplay Patterns

Lit Brothers, Philadelphia, Pa.

The Hecht Co., Washington, D. C.

Front

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ormnt

Have you despaired of ever seeing your figure as beautiful as hers?
Don’t give up yet! Her figure may be no more perfect than yours. But
she has discovered what millions of other lovely women already know
—that the look of figure-perfection is now possible. Life Bra and Life
Girdle by Formfit, working together, correct your entire figure fault-
lessly ... no matter what your figure faults! That secret is ours — and
it’s in the exclusive Formfit way they’re tailored to lift — mold — cor-
rect—hold, all at one time. Make “that Formfit

look” your own today at any of the better

fi 0 \ stores.

Life Bras from $1.25
Life Girdles from $7.50

THE FORMFIT COMPANY
CHICAGO, NEW YORK

" %-tk fit* tir.: • -

Trim Tred shoe called
“Appeal.” About $8.00 at
Marchesins,

Clifton, N. J.

Jolene shoe called
‘The Lip.” $7.95 at
Gilchrist Co.,
Boston, Mass,

Carmelletes shoe called
“Paree.” $10.95 at
Peck’s,

Kansas City, Mo.

LU)H

Twenty-Ones shoe called
“Nelson.” $10.95 at
Arnold Constable,

New York, N, Y.

Styl-eez shoe called

“Leland.” $11.95 at
The White House,

Burkhart straw sandal called Houston Tex.

“Rosita.” $5.95 at
The May Co.,

Cleveland, O.

Most of these shoes come in calf, suede or patent, and in high and dark spring
shades. For store nearest you write direct to manufacturer listed on page 89.

Kickerinos crepe
moccasin. $7.95 at
Gimbels,
Milwaukee, Wis.

Gold-Coaster sandal
by Prima. About $5.00 at
F. & R. Lazarus,
Columbus, O.

Paradise shoe called
“Captive.” $14.95 at
The Fair,

Chicago, 111.

Velvet Step shoe called
“Betsy.” $10.00 at
Diamond Shoe Co.,
Sioux City, la.

Red Cross shoe called
“Eton.” $8.95 *at
Gimbels,

New York, N. Y.

Grace Walker shoe called
“Beverly.

The Shoelane,

Chicago, 111.

P AclofoAtU
Par bAmtiA

If the preceding pages do not list
stores in your vicinity where Photoplay
Fashions are sold, write to the manu-
facturers listed below:

Tweed Suit

Simon Cohen 13 Co.

512 Seventh Avenue, N. Y. C.

Accessories

Gage Bros. (Hat)

1 8 S. Michigan Avenue,
Chicago, III.

Wear -Right ( Gloves )

244 Madison Avenue, N. Y. C.

Town and Country (Shoes)

3 50 5th Ave., N. Y. C.

Kessler (Luggage)

27 W. 20 St., N. Y. C.

Short Jacket Suit

del Mar Sportswear
1400 Broadway, N. Y. C.

Felt Hat

Madcaps

28 W. 39 St., N. Y. C.

Glen Plaid Suit **

Lou Schneider, Inc.

512 Seventh Avenue, N. Y. C.

Suede Hat

Bet mar, 1 W. 39 St., N. Y. C.

Shoes

Velvet Step

1501 Washington Ave.

St. Louis, Mo.

Kickerinos

1229 W. Vine, Milwaukee, Wis.
Trim Tred

1501 Washington Ave.

St. Louis, Mo.

Grace Walker
1501 Washington Ave.

St. Louis, Mo.

Jolene

1204 Washington Ave.

St. Louis, Mo.

Carmelletes

1525 Washington Ave.

St. Louis, Mo.

Paradise

22 S. Sarah St., St. Louis, Mo.

T wenty-ones
319 — 7th Ave., N.,

Nashville, Tenn.

Red Cross

1658 Herald A ve., Cincinnati, O.
Styl-eez, Portsmouth, O.

Prima

Beck & Ann, Columbus, O.

Bur kart

812 Olive St., St. Louis, Mo.

Am.erica’s
greatest
coat v/alu<

Master-tailored of finest
virgin woolens; rayon satin
linings guaranteed for the
life of the coat.

Spring style sketched . . .

sand, green, cherry, blue, gray
Misses 8 to 16; Juniors 7 to
One of a thrilling variety
of Sportleighs in important
Spring fabrics and colors.

Matching hats and
bags available.
Ask to see them.

Sportleigh Thoroughbred Classic Coats at

One Fine Store in Your City.

TAILORED AT SPORTLEIGH HALL, HARRODSBURG, K Y.

(S^SS-tiP Heralds
the Young Point of View !

^^ossard

At leading stores grid shops* everywhere, or wfitfe; The H. W. Gg$jcard Co., 108 E Ohio St., ^ •

Some Things for the Girls

(Continued from page 68) skirt; then
reach for the brown, gray or black coat or
cardigan. Discard the light colored or
printed coat-half of one outfit and line
your cardigan with it. Give the cardigan
turnback cuffs or a tiny collar of the left-
over material from the dress or suit coat
you’re combining with it, and presto — a
dreamy new daytime ensemble!

The cardigan is even making its appear-
ance at formal dinner parties and at the
cocktail hour and should certainly be a
part of your spring and summer wardrobe
this year, whether for teeing off at golf,
or tete-a-teting with your best beau.

Jo Stafford has a gold-colored jersey
cardigan jacket with smoked pearl but-
tons and push-up sleeves. It can button
all the way up over white sports blouses
with white, gray or black skirts, or with
just the bottom two buttons buttoned,
forming a plunging neckline, over a con-
trasting dress, the top of which she wants
to show. Thus a daytime costume is com-
pleted, without the necessity of lugging a
non-matching coat, or inappropriate furs.
Such added jackets can even be worn over
your “basic black” with as much jewelry
as you’d care to add.

CAUGHT Ann Blyth lunching at Roman-
off’s in a darling new print street dress
(very small design) of brown, leaf-greens
and black on a background of pink. It’s
simple, full skirted, has a tiny round self-
collar of the print, short sleeves, and
buttons all the way from neck to hem.
Over it goes a soft brown cardigan of
lightweight wool, lined in the same print,
bracelet sleeves with a rim of the print
barely showing, and with a tuxedo collar
of the print down the front — no buttons.
Smart Ann also has a skirt of matching
brown wool and an extra little shirtwaist
of the print — thus giving her two distinct
costumes (one afternoon- ish — one more
tailored) — and for little more than the
price of one. Get the idea? It can work
for you in so many ways!

And just one more note on the subject.
There are the elegant “lumber- jacket”
types of cardigan which can be made from
a small piece of gold lame, velvet, satin or
any luxurious fabric you love. And what
wonderful “evening wraps” they make for
wear over decollete gowns.

Individuality can be your keynote now
and for some time to come — because the
Look (no longer the new or old look) is
so greatly varied — and there’s one for each
and every type. If the suit suits you,
wear it — but be sure it’s tailored to -your
most flattering length. Long or short
jackets, full or slim skirts are equally
good. There’s a smart, very young suit
that Anne Baxter — still on a clothes-
buying spree — has chosen in a tan light-
weight tweed, which gets its skirt full-
ness only from a slight flare starting just
below the hipline. It has a waist-long
basque jacket on which Anne wears a
big gold medallion, set with topazes and
other colored stones. Simple little tailored
blouses, from white to bright green, go
underneath. She wears a tiny straw sailor
matching the tweed in color, on her bru-
nette tresses, now so short — just like most
of the other gals in town.

When Dottie Lamour had Betty Hutton
guesting on her air show, Betty watched
her p’s and q’s and clothes — because she
knew that Dottie has Jean Louis design
all those lovely things she wears when
broadcasting. Betty wore a unique shirt-
waist dress — well, not really a shirtwaist
dress. Hers had a fabulously full skirt of
brown taffeta — almost to the ankles; and
the “waist” was brown taffeta, too. From
the neckline, which (Continued on page 92)

RADIANT AS BANDS OF SPRING SUNSHINE, THE

SUNNY-STRIPED DOUBLE BREASTED SUIT OF MILLIKENS SUPERB MATCHED
WORSTEDS. , . FINEST IOO% WOOL FABRICS, MASTERFULLY TAILORED. IN

FOR STORE NEAREST YOU, WRITE:

LOU SCHNEIDER INC. 512 SEVENTH

AVENUE, NEW YORK 18, N. Y.

APRIL-SOFT TONES OF BROWN OR GREY. SIZES 10 TO 18. ABOUT 250.

management, or 27 other awards' tust send recent non returnable photo with height,
weight, bust, waist and hip measurements before May 1, 1949 Decisions of famous
beauty tudges are final. Mail entry to P 0 Box 65. Murray Hill Station, New York.

STARDUST, INC. Empire Slate Bldg., NY I

LOOK FOR GENUINE $tardu.1 SLIPS. UNDIES. GIRDLES, GARTER BELTS. BRAS & BLOUSES

or when you are writing to the manufacturers
of merchandise which you ha/ve seen featured
in these Fashion Pages ... it will be easier for them
to know exactly the item you wish to buy,
if you mention you saw it in Photoplay.

(Continued from page 90) was a high,
rolled collar, to the hemline, there was a
buttoned closing. And alongside the clos-
ing, all the way, was a scroll trimming of
black passementerie. Dress had push-up
sleeves to the elbow. With lots of bright
jewelry to lighten it up, it’s a very good,
all-year-rounder.

As for Dottie, she added a nice bit of
nonsense to an all-sense costume. She
was wearing a simple, beautifully cut
black silk suit, with its fitted jacket a new,
long length over the slimmest of skirts —
slashed at the hemline at the two front
seams. Dottie wore an oversized straw
beret, of an orangy shade, tilted far to
one side, and at its lowest point, she had
added a flame of black, shiny feathers jut-
ting forward in a big, breath-taking swish.
The feathers were anchored with a big
semicircular gold filagree pin ablaze with
diamonds. A striking effect.

DOTTIE is mad for black, but finds many
a way to vary what might become mo-
notonous in the no-color department. Over
one black dress which is very simple,
high-necked and close fitting, she wears
a long, very full black lightweight coat
which is lined in madly striped colors —
a blaze of colors in fact. It’s seen, of course,
only when she moves. (This suggests lots
of ways you could transform an old dress
and an old coat into a brand new en-
semble— but only wearing them together!)

The new ivory, cocoa and yellowish
tones we’ve spoken of really find the
right place to nest when Ava Gardner,
with her billowing light brown hair and
perfect skin, combines one or more of ’em
for a gown. Ava and Howard, long-time
romancers, had a tiff so Ava went to the
Charlie Morrisons’ party stag — but she
wasn’t short of dancing partners. She
floated around the Mocambo dance floor
in a beautiful dress of cocoa-colored
Chantilly lace over ivory satin — the whole
effect making a “skin tone.” It’s simply
styled, with a very full circular skirt
skimming the ground. All around the
off-shoulder neckline is a cuff of the ivory
satin. At one shoulder this cuff looks
gathered into a circlet of big tobacco-
colored “diamonds” set in a big frame of
gold. Dainty plain gold earrings, ring and
bracelets, the only other jewelry or trim-
ming for this eye catching ensemble,
which is finished off with Ava’s short,
full cloak of satin in a pale coffee shade.
Deeper coffee -colored satin slippers give
her four shades of actually one color —
such a beautiful effect!

The End

THRU RED GROSS

Return of the Torso

( Continued, from page 41) tell a trend
without consulting tea leaves.

Screen precedent for male stripping goes
back to “The Birth of a Nation.” Wally
Reid appeared, muscular to the hips, as he
tossed villains around like confetti. An
Adonis in face and form, Wally was
thenceforth a male Gypsy Rose Lee.

In his dressing room one afternoon, the
telephone rang. The publicity department
was calling to instruct him. “Okay,” he
sighed, and peeled his shirt.

“Reporter to interview me.” he grimly
said. “I’m in the same class as a Follies
girl. When I lose my shape I’m done.”

RESURGENCE of interest in the rugged
male is a healthy omen, for during the
war, the maternal instinct overcame wom-
en to such a degree that sex appeal
amounted to anemia and the beau ideal
was a lullaby boy. Now the Marines have
landed back in Hollywood and the female
situation is in normal hands.

Robert Ryan not only served with the
Leathernecks, he did a stretch with Tal-
lulah Bankhead in “Clash By Night.”
He’s an exemplary male and Jack Demp-
sey tapped him to play the Champ in his
life story which RKO is screening.

Bob exemplifies the brawn-and-brain
boys who constitute the new race of screen
gods. He is six-feet-three, with black hair
and brown eyes. His towering bulk of
194 pounds supports a turret of intellect.
He bears a B.A. from Dartmouth where he
boxed, played football, edited the college
paper, wrote poetry and plays.

His post-college activities ran the gamut.
He was able-bodied seaman, sandhog,
miner, cowboy, bodyguard for a mobster
and a “human mule” pushing rock barges
in the sewer tunnels of Chicago. This,
along with training devil dogs and spar-
ring with Talloo, made a superman fit to
challenge Jove. .

Burt Lancaster, of triumphant torso, has
a similar record. He left New York Uni-
versity in a pair of acrobat tights that
belonged to someone else and joined a
circus. A personable Hermes with blue
eyes and blond tousled top, he later be-
came an attraction for night clubs where
he performed on horizontal bars. Always
a reckless youth, he fell victim to ennui
after stunting at the Blackstone Hotel in
Chicago. In a hundred-dollar tailored
ensemble, he applied for a truck driver’s
job at Marshall Field’s. The personnel
manager had the eye of a casting director.
He put Burt to work as a floor walker in
the lingerie section. Burt, carnation in
buttonhole, did handstands and back flips
in the aisles and business boomed.

Burt was rescued by the Army before
he lost his carnation and he went off with
the Fifth Army for service in North Africa,
Italy and Austria. He got his first drama
training when he put on shows for Special
Services. Romance caught up with him in
Italy where he met Notnia Anderson, a
USO entertainer. Now he is star-producer
of Norma Productions, that made “Kiss the
Blood off My Hands.”

Another Titan of body and mind is
Sonny Tufts, a Yale man, measuring six-
feet-four and weighing two hundred. At
college he went out for football and crew,
sang in the glee club, organized bands and
wrote for the Yale Record and Yale News.
He made twenty-five Atlantic safari with
his college musicians. His precociously
. brilliant career came close to finale when
he skidded on skis off a sixty-foot cliff. For
five months he relaxed in a hospital with
a busted pelvis.

One admirer of male pulchritude, a pro-
found student of the old Greeks, insists
Errol Flynn might be another Ganymede,

R omantic,

the tracery

Coleman

Studios

“Lady Fair” . . . elegant femininity
to emphasize the charm of rich,
Venise-type lace; Sun-dress with

adjustable shoulder straps, and a
vestee jacket so figure flattering.
Pink, grey, light blue in linen-like
rayon. Sizes 9 to 15. Under $23 .

Write for the name of your local shop . . . Doris Dodson, Dept. P-3, St. Louis 1, Mo.

Here you are, daisy -fresh in Dan River Cotton

Cool as a freshly-laundered Spring morning—
color-bright plaid against a paper-white ground.

W ashable . . . fast color, shrink-resistant *.

Dan River Mills, Inc.

Dress by Junior Clique.

White with lUac-and-brown,
pink-and- green or blue-and-orange.
Sizes 9 to 15. About $8
at Stern Bros., New York ;
Woodward & Lothrop,
Washington, D. C.

* Fabric shrinkage not more than 3%

FABRIC

cup-bearer to the gods. Mr. Flynn is a
gentleman and a scholar, a swashbuckling
adventurer, sportsman, quick with rapier
and wit. Aquatic sport has given him a
magnificent torso which in “Don Juan” is
covered with corslet and fichu. His legs,
however, excite classic comparisons.

Cornel Wilde has intellect along with
that physical attribute which the French
describe as le souplesse — suppleness with
skill. After completing a three-year medic
course in two, he waved off a scholarship
and went off for a theatrical career. Be-
sides acting and managing shows, he trans-
lated plays from German and Hungarian.

He acquired his souplesse by fencing.
With Aldo Nadi, world champion fencer,
he worked up a sword and dagger routine
that curdled the blue blood of socialites
at Park Avenue shindigs. In this act, he
wore no protective covering for his chest
and he doesn’t in movie ads now. In fact,
Twentieth put an “ole swimming hole”
scene in “Road House,” in order to give
the Wilde build some extra exploitation.

ALAN LADD holds seniority among torso
boys. From the day he was bom a star
up to his latest film, “Whispering Smith,”
Alan has been either practically shirtless
or given some lusty fight scenes in which
to put his muscles to play. An old-school
athlete, Alan was a studio grip until he fell
off a scaffolding on to a set, lost his shirt
and became a star.

John Payne studied at Mercersburg
Academy, University of Virginia and the
drama school of Columbia. Six-feet-three,
weighing 190, he has one of the finest
physiques in pictures. Consequently he
has been forced to wander about in his
shorts a good deal.

His career is also colorful. In his teens |
he shipped as steward to Europe and
South America. He wrote for pulp
magazines, designed model planes and
at sixteen soloed a full-size ship. (He
was in the Ferry Command during
the war.) While working his way at
Columbia, he earned money wrestling
professionally, child-sitting and tend-
ing switchboard. Once he had a job
in a burlesque theater singing an accom-
paniment for a strip-teaser. This did not
inspire him to be one; he’d rather wear ■
clothes in which he looks as elegant as in
his well-tailored epidermis.

Thirteen years ago, Johnny Weissmuller, !
a swimming champ, was run down by a
studio scout, stripped and carried off to
the M-G-M jungle to play Tarzan. When
Johnny retired from tree tops, Sol Lesser,
entrepreneur of Tarzan, sent scouts to
uncover another jungle wonder. They
visited muscle-man exhibitions but found
the weight-lifters too unsymmetrical for
female taste. A sizable part of Tarzan’s
patronage is feminine, Mr. Lesser says.

Intelligence is required of the tenth
Tarzan, who is a cosmopolite now, having
come a long way from the baboon-chested
aborigine of early pictures. His premieres
are attended in Cairo by pashas in white
ties and tails and by harems in their best
veils. The new Tarzan will speak lines and
attend the Olympics in a forthcoming epic.

Out of a thousand applicants, a tenth
Tarzan was uncovered who is indeed an
athlete plus. He is a graduate of Philips -
Exeter, a cosmopolite who lived abroad for
six years; he speaks French fluently, un-
derstands Italian and Spanish, paints and
sketches, collects vintage wines and looks
like Apollo Belvedere. He went into the
war a private and was invalided out a
major — Major Alexander Crichlow Bar-
ker, yclept Lex Barker.

Hollywood giants, let it be known, match
Apollo not only in form but in cerebrum.

It looks like the renaissance of the gods.
The End

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3-49 S

•3C

-J

ofi

»o

0, Sec.

«»

205 East 42nd Street

New York 17, N. Y.

Peggy Ann Gar-
ner, winsome
and winter-wise

MARY

JANE

FULTON

Pretty

M)atc-a Me Qat

EGGY ANN GARNER,
pretty teen-age lass,
plays the lead opposite
Lon McCallister in “The
Big Cat.” It’s her first
romantic role. . . . Since
Peggy, now seventeen, is
allowed to have more dates, her new con-
vertible comes in mighty handy when she
wants to drive from Hollywood up into
the nearby mountains for winter sports.
Usually, a date rides with her. But she
enjoys sometimes taking along a girl friend,
instead. For, Peggy stoutly maintains, two
girls can have lots of fun, too!

Mler

Prnti-ch

tap

Because in a few hours she experiences
a radical climate change — from warm to
winter weather — she’s learned how to pro-
tect her skin from any damaging effects
caused by the wind and cold. . . She car-
ries in her purse a small bottle of hand
lotion, filled from her large bathroom size
bottle, and applies it several times during
the day to keep her hands from chapping.

Peggy says she also massages a hand
lotion or cream all over her ankles, legs
and arms after bathing. For even though
she takes along a warm sweater, woolen
socks and heavy mittens to wear in the
mountains, the wind and cold can still be
a menace to her soft, tender skin. . . Just
why Peggy’s freckles worry her is hard
to say. On her they look cute. However,
since they do, she’s discovered a way to
conceal them. She smooths on a bit of
cream foundation in a shade which
matches her skin tone. Or, she alternates
with a light film of creamy cake make-up.
Besides acting as a freckle camouflage,
they also help keep her face from chap-
ping so easily. . . Another anti-chap trick
she has is to use a medicated, colorless lip
pomade on her lips, before applying her
lipstick. . . When you have a cold, or
haven’t time for a wet shampoo and set,
she suggests trying a dry shampoo. It
doesn’t take long to give, nor should it
spoil your old set, if you follow directions
carefully. . . Get outdoors this winter all
you can, she also advises, even though it’s
only for a short, brisk walk. The crisp,
cool air will put stars in your eyes, roses
in your cheeks, and make you feel like
your most beautiful, healthy self!

Coro's refreshing collection
of fish pins. Lustrous lucite setting,
studded with rhinestones — they'll
be your accessory favorites for
spring. Prices plus tax.

At all leading stores, or write
Coro, hit., Ndw York 1

muA 'l A...

* Guaranteed by ^
Good Housekeeping j

^*^4* 4Pvtansa>

It’s sheer flattery the way Realcraft’s
Style 6155 accents your lithe lines!

It’s a four-gore slip, cut full and
straight, to swathe your figure. Adjust-
able % inch shoulder straps. Dainty
eyelet embroidery .. .Sanforized for
permanent fit. Sizes 32 to 40, $2.98
Other styles, from $1.50.

At leading stores everywhere.

GUARANTEED FOR ONE YEAR

UNITED MILLS CORPORATION
makers of the famous "NO HIKE" SLIP • Ml. Gilead, North Carolina *190 Madison Avenue, New York City

The Amazing ELECTRIC FAUCET HEATER that gives

Think of it! THE
HOT WATER YOU
WANT — the
moment you
want it —

— from any sink cold-water faucet . . . just
by plugging the amazing new Little Marvel
Faucet Heater into the nearest electrical
outlet. No boiler or tank needed! No fuss-
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You’re never without hot water when you own a Little
Marvel Electric Faucet Heater. Get one now at the amaz-
ingly low cost of only $3.98. Mail coupon TODAY!

• For SHAVING early in
the morning and late at
night

• For BABY'S BOTTLES

• For use in SICKROOM

ADDITIONAL FEATURES

• Operates on AC or DC current

• No moving ports to wear away
or get out of order

• Constructed of handsomely fin-
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• Weighs less than 1 pound (size
2 3/* inches x 3 % inches)

» Underwriter Approved
6-foot extension cord

• Costs little to operate

FULLY GUARANTEED!

The Little Marvel Electric Faucet
Heater is skillfully made and guar-
anteed against any and ail defects
in material and workmanship. With
ordinary care it will give years of
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• For use in FACTORY,
SHOP AND STORE

• For GARAGE, BASEMENT,
etc.

• When HEATING PLANT
BREAKDOWN stops hot
water supply

• For FARMS, BUNGALOWS
and COTTAGES that do not
have regular hot water

^ supply or where not read-

ily available

• For quick LAUNDERING

MARVEL SALES CORP.

18 East 41st Street, Dept.4-E2,New York 17, N. Y.

MARVEL SALES CORP., 18 East 41st St., Dept. 4-E2, New York 17, N. Y
a Rush LITTLE MARVEL HOT WATER HEATER C.O.D., I'll pay postman $3.98
plus postage.

O Enclosed find $3.98. Send POSTPAID.

NAME

CITY ZONE STATE |

(PLEASE PRINT)

Midnight Supper Date

(Continued from page 54) towel. Mix 1
cup homemade dressing with Vi cup pre-
pared mayonnaise, 1 tsp. dry mustard and
salt to taste. Stir this into cabbage. At the
last minute stir in Vs cup chopped walnuts.
This serves 8.

Homemade Dressing: In the top of a
double boiler, mix 1% tsps. dry mustard, 1
tsp. sugar, 2 tsps. flour, Vi tsp. salt, a dash
of paprika, 1 egg slightly beaten, % cup
milk. Then add Vi cup vinegar slowly,
stirring constantly. Cook over hot water
until thick.

Macaroni Salad: Boil 2 cups macaroni,
drain and rinse in cold water, shake well
in sieve until dry as possible. Mix with 1
cup French dressing. Let stand 2 hours,
then drain off the French dressing. Add
to the macaroni: Vi cup grated onion, 1
thinly sliced green bellpepper, 4 stalks
finely chopped celery, paprika and salt to
taste, \Vs cups homemade dressing and Vi
cup mayonnaise. Decorate with strips of
pimento.

Pineapple Cottage Cheese Cake: First
make topping by blending 2 cups finely
rolled corn flakes, Vi pound melted butter,
Vi cup sugar, and 1 tsp. cinnamon. Pack
% of mixture in bottom and around sides
of angel food tube cake pan. Filling: Soak
two envelopes gelatin in Vi cup cold water.
Beat 3 egg yolks with Vi cup sugar and a
pinch of salt. Add 1 cup milk and cook in
the top of a double boiler until creamy.
Add gelatine to these ingredients. Then
add 1 pound of sieved cottage cheese,
3 tbsp. of lemon juice, 1 tbsp. grated lemon
rind, 1 tsp. vanilla, Vi cup crushed pine-
apple and Vi cup chopped maraschino
cherries. Beat 3 egg whites until stiff and
fold into mixture. Whip Vi cup heavy
cream and fold into mixture. Pour into
crust, and sprinkle with remaining top-
ping. Place in refrigerator until firm (at
least 3 hours). Carefully turn out on cake
plate; decorate with more whipped cream
if desired. Jeanette puts a tiny glass of
roses in center for added decoration.

The End

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Shadow Stage

( Continued from page 22)

(F) Cries Cross
( Universal-International )

BURT LANCASTER, Yvonne De Carlo
and Dan Duryea are a snarling three-
some in this one.

Divorced from Burt, Yvonne marries
dangerous Dan, then comes crying to
Hubby Number One about the way Hub-
by Number Two treats her. In vain, Lan-
caster’s friend Stephen McNally tries to
steer him clear of bad company.

Well, one thing leads to another and
soon Lancaster is part of a plot to hold
up an armored truck. He and Yvonne plan
to skip with their share of the haul but
Duryea has other ideas.

Your Reviewer Says: A muddled meller.

(F) Mexican Hayride
( Universal-International )

THOSE two cutups, Abbott and Costello,
cross the border for some Mexican
monkeyshines.

Bud— more rolypoly than ever — is chas-
ing Lou for making him hold the bag
after pulling a crooked deal back home.
Meanwhile, a pair of American detectives
tail Costello. Officially, Abbott is manag-
ing Virginia Grey, an attractive toreador;
privately, he’s conspiring with wicked Luba
Malina to peddle phony stock.

John Hubbard and Fritz Feld are part
and parcel of all the uproar.

Your Reviewer Says: Whoop-de-do with
Bud and Lou.

V (F) The Sun Comes Up (M-G-M)

WHEN you lose someone you love, don’t
shut the rest of the world out. Concert
singer Jeanette MacDonald tries it after
the accidental death of her young son, and
it doesn’t work.

Heartbroken, Jeanette goes off in her
car to forget it all. The last creature she
wants along with her is Lassie, for it was
while seeking to save the dog that the boy
fell under a truck. But Lasslie, who has a
way with her, refuses to be left behind.
It’s when Jeanette rents a house in the
mountains and gets to meet plain country
folk that she learns that life must go on.
Nice Claude Jarman Jr., an orphan who
comes to do her chores, opens her eyes to
that fact. In vain Jeanette struggles
against her maternal feelings towards
Claude who longs to be adopted by her,
but is too proud to admit it to anyone but
storekeeper Percy Kilbride.

Lloyd Nolan makes a rather late en-
trance in the picture as the sympathetic
owner of the house, obviously drawn to his
talented and attractive tenant.

Your Reviewer Says: Pleasantly diverting.

Best Picture of the Month

A Kiss in the Dark

Best Performances of the Month

Janet Leigh in "Act of Violence”

David Niven, Jane Wyman, Victor Moore
in "A Kiss in the Dark”

William Holden, Lee J. Cobb
in " The Dark Past”

Claudette Colbert, Fred MacMurray
in "Family Honeymoon”

Patricia Neal in " John Loves Mary”

Marius Goring in
"Mr. Perrin and Mr. Traill”

Subject to Change

(Continued from, page 56) it too, when
tKey watched Bgwie the BLid,

the affectionate, sensitive youth of ‘'They
Live by Night.” Now, with the roles of the
musician of “Rope,” the dashing RAF of-
ficer of “Enchantment,” and the romantic
man of the mountains in “Roseanna Mc-
Coy,” behind him, Farley is conceded to be
Hollywood’s latest romantic rage and one
of its most versatile actors.

Farley may live in a sort of Never-
Never land peopled only with the good
and the kind, but he can be realistic
enough about his performances on the
screen. If he feels he does a good job he
has no qualms about saying so. If he
feels he’s terrible, he says that, too — and
always objectively. To any who say they
liked him in “Rope,” Farley remonstrates
with, “Oh, no, you didn’t.” He was un-
happy about being cast in “Enchantment.”
But after the sneak preview he was very
pleased and admitted he had been wrong.

Next to acting, Farley’s first loves are
books and music. He fairly lives to musical
accompaniment. “I turn it on the minute
I get home,” he says. He usually studies
his script walking back and forth the liv-
ing room floor accompanied by Gershwin
or Stravinsky. “If I had my choice of what
I’d have liked most to have been,” he says,
“I think it would have been a composer.
Acting is a transitory thing — but to write
music which would bring happiness to so
many people — who could ask for more?”

HE seldom carries money — which means
nothing since he has charge accounts
at all the leading book stores and music
shops. When Farley rolls up in his black
convertible, the clerks meet him at the
door with their latest selections.

He has no mechanical aptitude. His tal-
ents are exclusively artistic. Give him a
piece of clay, a pencil to sketch with or a
script — and stand aside. He has the great-
est appreciation of art, leaning to the work
ef Grandma Moses and Picasso. He is hap-
piest in levis and wears them anywhere,
including art galleries, excepting one he
visited recently during what turned out to
ee its formal opening. “With all the other
:ustomers in evening attire, we got out of
here but fast.”

“We” included Geraldine Brooks, who
old nobody about their fashion faux pas
md turned on the radio one evening to
lear Farley frankly discussing it with a
ashion authority on a broadcast.

Geraldine and Pat Neal are his favorite
eminine companions. Speaking of girls,
‘I can’t stand girls who are always posing,
ilways conscious of the impression they are
,naking. I like a girl who’s a good sport
ind one with my same off-beat sense of
lumor. One whom I can respect for her
alent and ambition and one who’s easy to
let along with — that’s the biggest qualifi-
ation.”

i Girls, including his best — his Mom — find
’arley very thoughtful. He was working
in the set of “Rope” all day, last Valen-
ce's Day, but he wasn’t too busy to send
‘is mother a telegram saying simply, “Will
ou be?” If a gal’s done up in a new dress
r something special, he’ll always be very
omplimentary. When Geraldine got her
iew short haircut, it was Farley who sug-
ested they “celebrate” it. When Pat Neal
jfft for England, for a picture, Farley was
t her home early the morning of her de-
arture to help with some last minute
acking.

Farley lives among the pines in Laurel
anyon in a cute little white house. He
as a maid Rosie, who cleans for him twice
week and usually leaves a baked cake or
roast, cooked as an ad lib. As you can
uess, “Rosie’s wonderful.”

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NAME

STREET AND NO.

CITY. PH 3-49

I can BE I

; GLAD DAYS !

1
1
I
1

■ PERIODIC PAIN i

1 CBAMPS-HEABACHE-' BLUES" 1

He hates to leave a party once he gets
to one, hates to go to bed and hates even
more to get up any morning. He admits,
“I’m always late. I never mean to be but
I always am. I sleep until the last second.”
When he is due at the studio at 8:30, he
sets his alarm for 8: 00, leaving a half hour
to dress, eat breakfast and get there.

His favorite evenings are spent at the
home of the Sol Chaplins whom he calls
affectionately his “extra pair of parents.”
He has Sol play the piano while he hums
along in a noise popularly referred to by
them as Farley’s monotone. He doesn’t
like garden parties and seldom goes to a
night club unless “there’s an act I want
to see.” On a date, he prefers to listen to
records, play charades or go sailing.

Most of Farley’s friends are older. Nick
Ray, the Gene Kellys, George Coulouris
and Arthur Lawrence, the playwright, all
agree Farley’s twenty-three is just a num-
ber. “It has nothing to do with his age. He
is more mature than his years.”

ANY reference to Farley’s stardom gets
a vehement protest. “I don’t like it when
people call me a star, because I’m not,” he
says. “I don’t think any actor has the right
to be called a star until he’s proven him-
self. Nobody can become a real star over-
night. I don’t want to be a flash- in-the-
Hollywood-pan. Acting is my career. I
want to stick around for a while.”

Ask whether he was surprised when he
was given a movie contract with no pre-
vious experience and you’ll get an equally
frank, “No, I wasn’t. I had dreamed about
acting for as long as I can remember.
When they told me I had the part in
‘North Star,’ I felt it was as it should be
and the way it was bound to be sooner or
later. ' It was just sooner.”

That Farley was meant to be an actor
was evident from childhood when he’d
come home from a movie matinee, sit on
the steps in front of his house and go
through the entire picture again — acting it
out for the neighborhood kids, line for line.
He made his first dramatic appearance at
the age of five, at a Christmas program.
His part was confined to a toddle-on in
one act, but when one of the other boys
became ill, he changed clothes and went
back in the other part, too. “All my rela-
tives out front were so proud of me,” he
laughs. “They thought I was a real troup-
er.” His only other dramatic appearance
was at a Little Theatre in Hollywood with
“The Wookie” in which he played Cousin
Hector with a cockney accent.

This opportunity came about through
his father’s acquaintance with Harry
Langdon. “What would you do with a kid
who wants to be an actor?” Pop Granger
asked him one day. Langdon suggested
getting him into a play a friend of his was

directing. An agent, who knew that Gold-
wyn was looking for a seventeen-year-old
boy for “North Star,” came backstage
opening night and made an appointment
to take him to the studio for an interview.
He got the part and an exclusive contract
with Goldwyn, who then lent him out for
“Purple Heart.” In February, 1944, Farley
enlisted in the Navy. He was stationed in
Hawaii and received his honorable dis-
charge in 1946.

Farley feels his responsibilities of citi-
zenship strongly. On movie location just
prior to the national election, he planned
to vote by absentee ballot, but he was
happy when it later developed he was able
to come home and not miss participating in
his first national election. There’s a serious
set to his handsome face when he dis-
cusses vital foreign issues.

He absorbs knowledge like a sponge.
In the presence of authorities on any
known subject, he sits silently filing
the facts away in his mind. You can take
the word of Sol Chaplin and his wife Ethel
that Farley was New York’s star sightseer.
“Our feet still ache from walking with
him,” they laugh. And on an interview,
it’s Farley who asks the questions: Name
the stars one likes to interview. Why?
What constitutes good copy? Why? What
is good copy? Also why. “But I want
to know,” he protests when reminded that
it is he who is being interviewed.

Sailors who served in his outfit in the
Navy say they didn’t see much of him off
duty. He was usually lying on the beach
reading Plato.

For when Farley gets a crush on a book
— currently it’s “The Naked and the Dead”
— he just can’t put it down. A confirmed
bookworm all his life, he can even read in
a refrigerator. In fact he almost jeopard-
ized his job at the market where he
worked as a stock boy after school, doing
just that. He was never a success at
routine jobs anyway, and he was usually
putting the wrong boxes of groceries in
the wrong cars and people would always
get home with a different bill of goods
than they ordered. But at night, when he
was supposed to be stocking the refriger-
ators, he would block off the front of the
box with bottles of milk and pounds of
butter, so the manager or customers
couldn’t look through, and then he’d take
out his book and really “gold brick.”

Farley’s future is always completely
flexible. Other than being a good actor,
he has no definite plans. Any questions
about what he’s apt to be doing five years
from now always stop him. “With me life
is always subject to change beginning with
tomorrow.”

One thing is certain, though. Farley’s
star is in the ascent.

The End

Mr. and Mrs. North America

Listen In This Sunday to Radio’s
Most Controversial Commentator

WALTER WINCH ELL

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Look for Walter Winchell on the cover!

100

Sunny Side Up

( Continued from page 45) all the books,”
she grins. “He worries twice as much as I
do. He’s always worrying. Pamela’s feet
are too cold or too warm. One morning
she’s eating too fast, the next too slowly. I
don’t read books. A mother knows.”

The only thing this mother didn’t know
was what to name the baby.

“She changes her name every day,” says
Dick who’s always held out for “Allyson.”
But June’s afraid she might be stuck later
with a shortened “Allie” or “Allis.” She
first named her “Leslie Allyson,” from her
own screen name in “Her Highness and the
Bellboy.” Then nicknamed her “Little Jo,”
while she was making “Little Women.”
‘But,” she says, “we’ll probably wind up
with ‘Pamela Allyson,’ and I’m pretty
happy with that.”

“What’s her name today,” Dick has taken
to inquiring when June brings their daugh-
ter down at breakfast time. Then, “Hi,
Stinky,” he says, playing it safe.

“She has curls,” announces June, and
Dick looks up startled at this overnight
levelopment. “She has,” insists her mother,
‘they just aren’t long enough to turn yet.”

[IflSE at being a mother, but impulsive
If and unpredictable where domestic chores
ire concerned, she wanders around in a
Tune “daze.” “I wish I wouldn’t walk
; iround in a dream most of the time,” she
!j ;ays, adding unnecessarily, “I suppose I
ust refuse to accept responsibility.”

Of this, the jungle wallpaper in the hall
>f their lovely English style home is primi-
ive proof. It resulted from an impulsive
inthusiasm on one of those days when
it June insisted upon shouldering her share.
That wallpaper has to go,” she moans
iow as she comes clopping down the still
incarpeted stairs in her mules. “Pamela
imply cannot grow up in an atmosphere
vhere all you need is a grass skirt and a
pear.

“When, if ever, the wallaper goes,” Dick
easingly reminds his wife, “you’ll have to
rrange for its replacement.”

The same goes for the carpeting. This
ras an item as yet undelivered dur-
lg an “I’ll-take-care-of-everything-just-
;ave-it-all-to-me” mood. “One reason she
asn’t gotten to it during these seven
lonths,” opines Dick, “is possibly that she
. kes to hear the noise she makes clopping
own.

Occasionally, June does get into one of
er rare industrious domestic moods. She
lade out a list, one day, of all the things
he just had to do. All of them impera-
:,ve. She must buy a ski suit for her
rip to Sun Valley; look for that wall-
aper, and get that carpeting. And this was
Iso the only day she could do all her
•hristmas shopping. But, somehow, whip-
"i ing along in the car, the list got lost as it
onveniently usually does and June de-
ided to take in a neighborhood movie
, 'here “Easter Parade,” starring Fred
.staire, long her idol, was showing. She
rrived home wearing an exhilarated ex-
ression, without having purchased as
luch as an Argyle sock. She immediately
died the Astaire home, and when he
asn’t in, left a message saying how much
ie had enjoyed his performance. That
ight while she and Dick were having din-
er she was called to the phone. She came
ack with her Allyson-in-Wonderland
>ok. “That was Fred Astaire. He called me
ack,” she bubbled joyously.

June usually rises in a bubbly mood and
icks up bubbles as the day goes along.
Ithough, on or off the screen, a laugh can
ad in a tear. As Dick says, “Her face can
ok happier and sadder than any face I’ve
rer seen.” She can look personal difficul-
es straight in ( Continued on page 103)

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101

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And here’s up-to-date information you and she can trust . . .

( Continued from page 101) the face. What-
ever went on in her life a few months ago
when divorce rumors were flying fast, she
and Richard have gotten together and cer-
tainly seem to be doing all they can to
keep their marriage safe.

Luckily for June, her soft heart and her
sympathy for others are her greatest con-
cern. And her inability to say “No” is
counterbalanced by her capacity for
charming, if confusing conversation. When
faced with some controversy or a decision
upon which she doesn’t want to commit
herself, June chatters along, charms all
and really says nothing.

Ironically enough, her toughest scene in
“Little Women,” was a page of dialogue
in which she chatters on ad infinitum. This
would have worked no hardship upon her,
even though she was required to have her
mouth full of cookies at the time, if she
hadn’t had to stick to the script.

She worries about her work. “Nobody
ever knows it, but I get so nervous,” she
says. “When I have a tough scene to do the
next day, I study until I know the lines
backwards. But I still wake up in the mid-
dle of the night wondering if I really know
them. Then I can’t sleep. And on the set
the next day, I’m sure I won’t remember
one line. Or get the right interpretations.
I just want to go home and kill myself.”

THE mere suggestion of any such planned
“self-destruction” would be greeted with
great dismay at M-G-M where June is
highly valued as an actress versatile
enough to handle the comedy of “The
Bride Goes Wild,” the song and dance in
“Words and Music,” the emotional role as
Jimmy Stewart’s wife in “The Stratton
Story,” and the brilliant and unpredictable
Jo of “Little Women.”

“Jo is my favorite part to date,” June
says enthusiastically. “It’s the kind of a
part I love; an active girl who jumps
fences with hoop skirts on and such. Jo
is the first time I’ve ever been myself on
the screen.”

“Myself,” in so far as June’s personal
picture is concerned, is an impulsive fun
loving tomboy who thrives on excitement.
She clowns on the set, talking completely
Southern one day and using an all-cockney
dialect the next. Between scenes of “The
Stratton Story,” she had a wonderful time
playing catch with world series champs.
She’s a girl who always can be depended
upon to go along with any gag. She’s al-
ways eating; candy bars, coffee cake, do-
nuts— “anything that won’t bite her first,”
the crew says. She has a man’s appetite
and has been known to polish off “ten
pancakes, two fried eggs and bacon. Just
couldn’t eat. I wasn’t well that day,” she
laughs.

June’s tomboyish tendencies terminate
abruptly, however, when they interfere
with feminine comfort. Her mild interest
in sports is confined mostly to tennis. For
weeks she badgered Dick about playing
tennis with her. “Don’t be ridiculous,” he
kidded me, “who wants to play tennis with
a girl.” Without his knowledge, she took
tennis lessons and one Sunday at the
Leonard Firestones, June finally heckled
her husband into playing with her. “He was
so surprised when I even got the ball back
over the net, but when I beat him nine to
seven, right in front of everybody, he could
have killed me. I was playing with a big
fever blister on my lip, too,” she goes on
building the conflict, “and Richard hit me
right in the middle of it with a wicked
serve. It was painful. But that’s one sure
way to cure a fever blister.”

For all her castles in the air, she’s often
on solid ground, too, especially when it
comes to being the little woman, sunny
side up, to Richard and Pamela.

The End

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103

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They've Had to Take It

(Continued from page 47) taken it. Has
it meant a fight to stay happy? Has it
made a difference?

“It has made this difference, Louella,”
Van said to me. “It has made our mar-
riage more solid, if possible, than if every-
thing had been hearts and flowers. For if
anything draws you closer to another
human being — it is the feeling that he or
she is being hurt through your love.”

I looked across the table at this man
opposite me with a new respect. A few in-
terviews back I might have thought of him
as a boy. Physically, he’s still a big over-
grown kid with his freckles and his red
hair. But inside, he has matured.

He no longer sits with his socks rolled
down halfway to his ankles, nor does he
stretch out on the floor like a gawky New-
foundland puppy.

When he came over to my house, his
whole get-up was as well-groomed as
though he were giving Adolphe Menjou a
run for his best-dressed honors.

I KNEW from experience that I didn’t
have to shadow-box with Van get-
ting into our interview. He has always
been a particular delight to get a story
from because he doesn’t preface every re-
mark with that old hex, “Please don’t
quote me.”

As a matter of fact, I think he wanted
very much to talk about himself and Evie.
And I took the measure of this new Van
from what he had to say.

“I once read a story of Edna Ferber’s
in which the leading character said,
‘Everything that happens to me is sheer
velvet.’ I’ve never forgotten that. In the
past few years I have had good cause to
remember it because ‘everything that hap-
pens’ means the unhappiness as well as
the happiness, the bad as well as the good.
The greatest lesson any of us can learn
is that it is all ‘sheer velvet.’

“Of course, I was flattered that the
bobby-soxers liked me,” he explained.
“But I couldn’t go through life on their
screams. All right, that’s over.”

He went on, seriously, “Now I have
something more substantial — my wife — our
year-old daughter. I still like to get fan
mail and I am grateful for the many, many
friends I have kept, but I hope I never go
back to being labeled ‘the bobby-soxers
delight.’ ”

He tapped a cigarette on the table top,
lighted it and went on:

“You know that stuff they have said
about my career being on the skids? Well,
I feel it is just the opposite. I would never
have been cast in pictures like ‘Com-
mand Decision’ and in a light comedy,
‘Mother Was a Freshman,’ if I were still
jitterbugging around as the ‘debs’ darling.’
I have a picture coming up, ‘Scene of the
Crime,’ in which I play a detective,” he
grinned that famous old Johnson smile of
his, “moving in on Bogart and Cagney.
What I mean to say is that I wouldn’t
have rated all these fine chances if the
tenor of my publicity hadn’t changed.”

I said, “While we’re going down the line
of those vicious stories, Van, what about
the rumor that you’re in debt and the
house you bought is a white elephant?”

He was the old Van again as he laughed
loudly at this. “I bought the house be-
fore I ever married Evie,” he explained.
“I admit I borrowed money from M-G-M
to pay for it, but who doesn’t borrow
money to buy a home? But I’m not a fool,
either, where money is concerned. I have
a smart business manager. He sees to it
that I pay the debt off and that I do not
spend more than I make.”

I asked, “But wasn’t there talk that you
and Evie were trying to sell the house?”

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104

“Oh, you know Evie,” he replied. “Soon
after was born she thought we

needed another bedroom. But neither of
us really wanted to sell the place.

“I’ve told you before. It’s the first real
home I have ever had. When I was a
kid, my father and I moved from hotel
rooms to small apartments and back to
hotel rooms again. Sometimes I can
hardly believe that the swimming pool
and the tennis court are really mine — -
and the sound of the ocean— that’s really
a dream come true.”

And, well may Van be proud of his
home. It is modern in feeling, inside and
out, without being modernistic. To look
at the beige-colored, green -shuttered
place, you get the impression that it is
enormous. Actually, there are only six
rooms in the house, but what rooms.

The actual living room is on what is
strictly the “upstairs” level with Van and
Evie’s suite to the right and that of the
two boys to the left. The baby’s nursery
is downstairs.

The Johnson home is not the product of
an interior decorator. Evie and Van did
it all, selecting their favorite backgrounds
of dark green walls, rich mahogany wood-
work and large divans covered with nat-
ural camel’s hair.

Their bedroom, and they share the same
room, is startlingly effective in its vivid
colors. The enormous oversize bed with its
heavy cover of green-and-white-striped
chintz with a red flower design is flanked
by two night stands, really mahogany
library “steps” in tiers of three, on which
the Johnsons put their books, telephone,
radio and magazines.

“But the pride of Evie’s life are the
lamps,” Van told me. “Two stunning
blackamoors in bright green and red coats
and the shades are shaped like red and
white parasols.”

Another point of pride is the black
marble and mirrored bathroom in which
everything is operated by pedals, even to
turning on the hot and cold water taps.

They both love the place so much that
they seldom go out, and one of the rumors
about Van and Evie I can assure you is
true, is that they don’t go out night club-
bing much any more. They love their home
and their Sunday tennis and barbecue
parties too much. But it is nonsense to
try to insinuate that they have become
recluses.

I see them often at the parties given
by their close friends, the Gary Coopers,
Jack Bennys, Claudette Colbert and Dr.
Pressman and the William Goetzes. And
I think it means a great deal that the
people they associate with are not the
“cafe society” set but the conservative
married couples of Hollywood.

IT WAS getting a little late and Van re-
I fused a cocktail because he told me he
had to get home early. It was the nurse’s
night out and Evie was taking care of the
baby.

“Believe me, Louella,” he said, “the
greatest happiness in my life are the hours
I spend with Evie and the baby. Every
morning, when Schuyler wakes at six
o’clock, I go in to her and there she sits in
her high chair gooing and gurgling and
trying to say Da-da.” If that sounds ga-ga,
you don’t know with what sweetness and
sincerity Van said it.

Because I wanted to get a well-rounded
story on the Johnsons and because I know
it isn’t easy for Evie with all her domestic
responsibilities to leave the house, I called
her.

She must have been laughing before the
phone rang. She sounded so gay and happy.

“What’s so funny?” I said.

“Oh, Schuyler is in here with me and

sometimes she looks ridiculously like Van,”
she laughed. “She has the same red hair,
the same smile and her mannerisms are so
much like his that it’s funny. Next, I
suppose the freckles will come along.”

“You’re really happy, aren’t you, Evie?”
I asked her.

“Dreamy,” she said. “Louella, Van is
so. . .” She hesitated a moment as though
she searched for just the right word to
express herself, “Van is so kind.

“He is so thoughtful and good, even
about the little things. He never forgets to
tell me where he is and when he is going
to be late. I never get even the slighest
chance to be jealous.”

Married to a movie star — that’s really
something.

“Of course, he adores our baby, but what
makes him even more dear to me is that
he is a pal, a confidant and a playmate
to my two boys, Ed and Tracy. They adore
him.”

If anyone is stupid enough to believe
that a “situation” still exists between the
Johnsons and Evie’s former husband,
Keenan Wynn, he is foolish indeed.

Now that it is all over I am sure that
none of them can object when I say that
everyone on the “inside” in Hollywood
knew that the Wynns were having trouble
long before Van and Evie discovered they
were in love. That I know.

What that trouble was will never be
discussed, but there is no scandal con-
nected with it. Their separation might
have come much sooner if it had not been
for their two boys. For their sake they
hung on long past the time when they
knew their real happiness was over.

I seldom “editorialize” about actors and
their problems. But I do believe the time
has come for all of us to get a new set
of ideas about the Johnsons.

The End

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105

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That PrizS Pidgeon

( Continued, from page 62) a valued friend.

The thousand and one irritations at-
tached to filming motion pictures roll right
off his broad shoulders. Walter is as re-
laxed as an accordion. No production per-
plexities ever dint his courtesy or good
humor. These problems he intelligently
leaves in the hands of technicians, whom
he believes better qualified to solve them,

| saying when they arise, as he often says
to me, “Come on, Duchess, let’s take a
walk. . . .”

I WALTER'S complete indifference to wor-
J 1 1 ry bothered me a little when we first be-
gan working together. I remember how just
before one very emotionally tense scene,
Walter strolled me nonchalantly away from
the set and related a hilarious tale about
a bear in a barber shop. I couldn’t help
laughing and the tension was broken. Al-
though to be even momentarily distracted
from important “drahmah” seemed to me
then supreme lese majesty.

Having then only recently arrived in
America, those were my days of more
dignified mien. A relationship Walter
promptly exploded between the two of us
| by addressing me as “The Duchess,” as he
still does, alternating occasionally with,
“Hey, Red!” During the filming of “Ma-
dame Curie,” when he became so in-
trigued with the smattering of Polish he
painstakingly acquired, Walter referred
j to me as “My pretty Pane.” A Polish in-
terpreter taught him to say, “It’s a beau-
j tiful day and you are so beautiful, dearest
j Pane,” and thus he greeted me every
! morning. Of course, that was the extent
of Walter’s Polish. There was no follow-
through. But he, himself, was enthralled
with it. Even during the filming of “Julia
Misbehaves,” just prior to my taking a
prat fall or something, Walter would say,
“Come along, Pane. . . .”

All of our pictures together have only
embellished my original impression of
him when he so kindly offered to play
the “lead” in a screen test opposite a tall,
gaunt, dignified red-headed newcomer from
the London stage. Feeling a little forlorn
and strange in a new country, I was sur-
prised and flattered that an established

American star like Walter would help an
unknown. I liked him immediately, the
first time we met.

Our next meeting occurred when my
Mother, Nina, and I drove into a filling
station, and there emerged from beneath
the hood of his car (where he’d been
tightening shock absorbers or something),
this long-legged tweedy person and his
breezy, “Hello there. When are they going
to launch you?” Which was also what I
was wondering. But I was flattered that
he was concerned enough to wonder with
me. “Be sure to ask for me as your
leading man,” he said gallantly.

Studio executives liked my test. They
frankly admitted I “had something,” as
they put it, but they were just as frankly
unable to arrive at the screen solution
in which to incorporate it. During all those
discouraging months of inactivity, as I
grew more wan and unhappy, Walter’s
friendliness and his “When are we going
to make a picture together?” whenever
we met on the studio lot gave me a badly
needed lift. He couldn’t have been more
charming and I will never forget it.

When several years later after I’d been
successfully established in “Remember,”
“Pride and Prejudice” and was scheduled
for “Blossoms in the Dust,” M-G-M asked
me if I had any ideas about the cast. I
answered quickly, “Yes, I think Walter
Pidgeon would be the ideal person to play
the role of my husband.”

Ever since then, we have been taking
each other for better or worse.

To women, Walter represents the ideal
husband. He is all those things most
women would like their husbands to be.
Undeniably handsome, romantic and yet
reliable. Equally at home before the fire-
place or at a church party. A man who
can master any situation. A man who
would take competent care of the baggage
while traveling and be firm with the
porter; who would be the envy of all the
girls at the Country Club dance; and
could make a very commendable speech at
the local women’s club.

In Walter’s prismatic personality, every
woman finds a kindred coloring which
harmonizes with, and flatters her own.

All right, maybe you’ve
already tried. But that
doesn't mean you can’t still
win. Think about your favorite
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or her — then write it down.
Be sure to keep your
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words or less.

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Screen-wise, one of his most valuable
attributes is that men like him, too. But
the ladies! This Pidgeon person mes-
merizes any of our skirted species be-
tween the ages of eight and eighty who
come within the scope of his charm.

A very gregarious gentleman, he enjoys
being with people and talking to them.
He can acclimate himself to any group, no
matter how divergent their interests. And
he can extemporize entertainingly and
endlessly on any subject.

He is a delightful dinner companion and
a most welcome guest. When Nina and I
are entertaining some particularly dis-
tinguished personage at one of our very
small dinner parties, we feel assured the
evening will be all the more memorable
if Ruth and Walter Pidgeon are there.

OUR relationship involves many interest-
ing nuances, as Walter has amusingly
reminded me. He is an unmitigated tease,
anyway. During the filming of my bubble
bath in “Julia Misbehaves,” a sequence
which must have been inspired by pos-
sible movie headlines saying, “Bubbles Are
Back and Garson’s Got Them” or some-
thing, Walter’s presence was unrequired.
To come out from behind the bustles
of the more abstemious ladies I had por-
trayed in the past and be photographed in
a flesh-colored bathing suit amid such
translucent trimmings, was setting some
sort of historical watermark. To avoid
any undue disconcerting developments,
there were “No Admittance” signs all over
the place. But just as I picked up my
long-handled brush and the bubbles be-
gan their ascension, in strolled Walter
with a casual, “Hello, Duchess, I just
dropped by to pick up some pipes I forgot
in my dressing room.” When I looked
askance, and he made no motion of looking
for pipes, Walter went on blithely, “A
husband of some five screen marriages
should be entitled to certain privileges.”

Quite the roguish raconteur, Walter has
a rare collection of limericks which have
•ather censorable implications, to say the
least. Although, I understand that he
aften breezes into Louis B. Mayer’s office
saying, apropos of nothing, “Say, L. B.

. . want to hear Greer’s latest limerick?”
Then tears off with something.

“Did My Lady say that?” asks our as-
tonished boss.

“Sure,” says Walter generously, “she’s
;ot a million of ’em.”

Actually, my collection consists of one
larmless little lone limerick. To wit:
There was a young lady be-ryde
Who ate some green apples and died.
But the apples fermented . . . inside
the lamented

And made cider inside her inside.

Two years ago I made the mistake of
assing this along to Walter, who keeps
etuming it to me as one of his own.
Lnd I laugh. So ours must be a lasting
riendship. Greater love hath no girl than
o laugh repeatedly at her own limerick.
However, I received ample reproval
ar Walter’s bad behavior recently, when
ome distinguished gentlemen of the
inglish Clergy visited our set. He has a
mischievous little limerick about a cer-
ain “Bishop of Chichester,” and when one
f our visitors was introduced as the
Right Honorable Bishop of Chichester,”
almost broke up completely. Walter was
laking a lot of impressive conversation,
s usual, and this little limerick kept
inning around in my head, until I could
ike it no longer and made my exit say-
>g, “Your Reverence, please excuse me,
have to go change my costume now. But
leave you in very good hands. Mr. Pid-
son has a very amusing limerick about
mother Bishop of Chichester which I’m
are he will be delighted to tell you.”
For one priceless moment, my partner’s

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Q. What is that one fault she is unaware of?

A. Failure to practice sound feminine hygiene with a scienti-
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usual resiliency deserted him. “Oh that
. . . yes . . well . . .” he stammered, be-
fore he recovered and did some skilful
switching of lines.

Royal remuneration, that. For all the
unmerciful teasing I’ve been subjected to.
Whenever conversation lags you can de-
pend upon Walter extolling some feat of his
illustrious predecessors. Opening inevi-
tably with, “Have I ever told you . . . my
Father was Eastern Canadian Champion in
that field?” Or his father’s father. Or his
father before him.

Although a pronounced devotee of the
finer arts ... an accomplished pianist,
fine baritone, an habitue of the Hollywood
Bowl symphonies . . . I’m afraid Walter’s
dancing leaves much to be desired. His
childhood nickname of “Slabfoot” was
not without certain legitimate implica-
tions. As I realized, when we began rico-
cheting around the set during a dance
sequence in “Julia Misbehaves.” His
dancing, I surmised, was one accomplish-
ment that was non-hereditary.

Although, in all fairness, our unusual
costumes — his sheets and my tablecloth —
might have contributed to the confusion.
Our dishabille was not dictated by fashion,
but out of necessity, in a story situation
which, as you probably remember, had us
overturning in a rowboat in a lake.

Walter dresses impeccably and has very
conservative taste in clothes, and I must
admit, he gave dignity even to this cos-
tume. He wore it as royal raiment. So
convincingly, that in this instance, I
could believe, some Pidgeon predecessor
might well have been Eastern Canadian
Champion of the Chariot Age.

At any rate, he’s a pretty irresistible
Pidgeon and I am very happy our part-
nership has found public approbation.

Which fact, reminiscing nostalgically,
prompted me to make a little curtain
speech of my own to him following our
last picture together, expressing my grati-
fication for his angelic disposition, his
courtesy and consideration. “This makes
four years and five pictures for us, Pierre,
and you’re still putting up with me . .

Walter interrupted with, “Wonderful
years, Duchess. And I would welcome
many more . .

It was very sweet of him and it touched
me very much. All the more because he
echoed my own thoughts. For I, too,
would welcome many more “wed” to the
wit and whimsicalities of this scion of
such an established long line of Eastern
Canadian Champions of Champions.

The End

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Alias Bette Davis

( Continued, from page 49) “Winter Meet-
ng” was such a disappointing movie.

Bette Davis, in much simpler words,
;eems to be saying: “There are only two
oads I can take. One is a career. One is
>s wife and mother. There is no middle
oad. I must choose. I choose to be wife
md mother. Now, I concentrate.”

And concentrate she knows how to do.
vVhen she was concentrating on being an
ictress, there was no more concentrated
ictress anywhere. She brought a whole
lew concept of the trade to Hollywood.
5he poured all of her intelligence and
alent and every bit of her reservoir of
•motion into being an actress — and ended
ip being a superlative one, and a star, too.

Right now, she’s giving all of that in-
elligence and talent and emotion to her
laughter and her husband. And, if you
vant to sound like a psychiatrist about it,
mu can say that all these years Bette has
jeen sublimating her emotional drives in
ler career, compensating for what she was
nissing in her personal life by pouring
•verything into her work.

There were, of course, many things we
lidn’t see when Bette was up there on
he screen. The endless, not-too-interest-
ng business of making a picture. The
iiinornings of up at six or earlier. The hours
mder driers, with fitters, designers, make-
ip men, hairdressers. The sittings for
ihotographs on sunny Saturday after-
100ns. When all the cute little starlets
imuld be off in the convertibles for glam-
ur parties at Malibu or Brentwood. Bette
vould be sitting there under the bright
ights because the magazines wanted por-
raits — and she knew that publicity and
ood relations with the public were an
nportant part of her trade.

She’d heard them say it up in that New
jlngland where she comes from: “Either
I sh or cut bait.” She was fishing — con-
entratedly. So she became the Queen of
folly wood. She set the pace for all the
thers. She was the first to play hussies,
hen everybody began playing bad girls,
he had a word for the kind of parts she
/anted to do — “gutty.” And gutty parts be-
ame quite the rage.

JF course, she was inventing this only for
I Hollywood. All she was doing, really,
•as bringing a sound theater tradition to
le place where it was needed. If the part
filed for her to look awful, she looked
wful. She played the devastating psy-
aological roles long before any of the
ther ladies would dare them. She played
nsympathetic roles, heavies, even unim-
1'ortant parts. Like the secretary in “The
Ian Who Came to Dinner” — what mat-
•red, she said, was if the whole picture
as worth making, not the size of Davis’s
>le. This, obviously, is a completely sensi-
le idea and the only real reason Bette
fould get any credit for it is because
ie is one of the first people to make it
jick.

Well, this is quite a legend to sustain.
Because it didn’t take long for Davis to
i ecome a legend.) Not only did she sus-
fn it with a great deal of ease, but she
bpt adding to it. Never did Bette Davis
iil to give her all to anything connected
ith her job.

Another take? Okay, another take. One
ore picture? Okay, one more picture,
nother interview? Okay, another inter -
ew. Don’t go to Palm Springs. Okay, I
on’t go to Palm Springs.

And if anybody marveled out loud to
?r, she would simply reply: “Why
Louldn’t I work like that? This is what
n supposed to do, isn’t it?”

That’s what her answer would be if she
ere a secretary and being a very good,

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concentrated one. Or if she were i
school, breaking records. Or if she fell i
love. And that happened? She fell in life
with Bill Sherry. She figured she die t
have room for two kinds of major lck
She didn’t want to divide herself in hf.
Working the way she’d always worli
didn’t leave much over for a husband. %
reasoning was very clear for clear-heaci
Miss Davis: “Therefore, I don’t work e
way I always worked.”

This logic became even sounder wl i
Barbara came along. Barbara is a vy
lucky little girl because she has a v y
good mother whose attitude about moth -
hood is the same as it was about actii:
“You have to do it right.” Bette as a
mother is normal and easy and intelligt
— which is quite a trick for a mo ;
Queen who has her first child mi \
later than most of the mothers you kn< .
But Barbara’s Mother is a very unus 1
lady and she gives everything — which, i
her case, is a great, great deal.

SO now you understand how this got i
be the story of Barbara’s Mother. A]
if it were anybody but Barbara’s Motl
you’d probably say: “For Heaven’s sa ,
let’s leave her alone. She’s done enough r
everybody. Let her hide away in lr
house at Laguna and listen to the s fx
smash on the rocks and spend her d;s
with Barbara and Bill, and forget evei-i
thing else.”

You’d be absolutely right, too, if B;-
bara’s Mother had said she wanted to q J
wanted to retire, wanted to be alo .
But she hasn’t said that, nor has !ji
forsaken her profession. And since
is still making movies, she still has uj
responsibility of being Bette Davis.

What that means, Bette knows bet:
than anybody. If she wants to continue)
be an actress — then she has to be the kil
of an actress she always was. Not becau
it’s demanded of her. But because she c-i
mands it of herself. She has to play 1
game according to her own rules.

She has to work and cooperate w i
the publicity department the way she ■
ways used to do. She has to sit for pi-
tographs and then more photograp .
She has to be prepared to give away p I
of her private life, to let Barbara al
Bill take a back seat now and then. (
If she doesn’t do it that way, then sl>
neither fishing nor cutting bait — and sht
not being Bette Davis.

The answer, maybe, is only one or ti
pictures a year. But if she’s going to i
that picture or those pictures jthen, wl 1
she starts them, Barbara’s Mother has i
go out one door and Bette Davis has >
come in the other.

Don’t be bothered by the use of su
words as “has to.” Nobody’s pointing i
gun at that beautiful head. But still, hi
face it, it would be a shame to see ar
thing muddy up either the actuality or 1 :
memory of the Queen as the Queen. I
please, Barbara’s Mother, if you dec
to be Bette Davis once in a while,
Bette Davis. Don’t make believe.

The End

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He's a Good Man to
Have Around

( Continued, from page 39) voice is chang-
ing and having great admiration for Bob
he was naturally self-conscious. Of course
Bob sensed it and quickly released the
pressure of the situation by making a big
joke out of it.

“You know, Pete,” he cracked, “you
sound like a cross between Boris Karloff
and Margaret O’Brien.”

The dinner hour in the Hope household
is generally as mad as the Hatter’s tea
party. Bob acts funny, the children die
laughing, discipline flys out the window
and I give up. Our youngest, Nora and
Kelly (named after my grandmother Nora
Kelly), are in bed when Bob comes home.
If it isn’t too late, Linda and Tony (Bob
calls him Flaps because he has prominent
ears) eat with the family. Usually, the
children know just how far to go. But the
silly thing is, Bob starts it all and then
reprimands them if their manners are
wrong.

I can’t think of any important phobias
or complexes that disturb Bob unless it’s
the fit he has when the kids dawdle over
dessert. Bob loves , .dessert and rushes
through a meal to get at it. Then he sits
there eyeing Tony’s pie, just waiting to
finish it for him! Bob is easy to please.
Roast lamb and roast potatoes are great
favorites. Also, peas, carrots, cottage
cheese, and pineapple salad.

Then of course, there’s lemon pie, espe-
cially the way his mother used to make it.
Bob has great family pride and his humor
definitely comes from his family — but
mostly from his grandfather. There were
seven brothers in the Hope family and six
are still living. When we went to England
in 1939. we helped celebrate Grandfather
Hope’s 97th birthday. Just the year before
he had stopped riding a bicycle When the
old man got up to make a speech and in-
troduced the relations, he wouldn’t stop!
It’s another fond memory Bob says thanks
for.

OCCASIONALLY, friends of mine who are
also married to actors, remark about
Bob’s energy. They marvel that he rarely
takes vacations or complains of overwork-
ing. Bob does have good health. Then, too,
he never loses his enthusiasm. Every show
is a new show. Even Bob’s idea of a
night off is to run over to the driving
! r'ange. This he especially loves, when he
can take the kids along. The only place
where he does nothing is in Palm Springs.
I can’t believe my eyes, just seeing him
. sitting. I also think it’s no chore for him
to keep on the constant go, because he’s
doing exactly what God intended he
should be doing.

Lots of times I wish he was more senti-

! mental,- but I would never try to force it.
Getting dreamy about a missed birthday
or anniversary isn’t important when you
look at the whole setup. His remembering
those and forgetting me every other way
would be worse. Anyway it’s always qual-
ity not quantity with Bob. And he’s
awfully cute about the things he thinks
up himself. Last Mother’s Day, for ex-
ample, I received a magnificent gold Our
Lady of Guadaloupe medallion. It was sur-
rounded by emeralds and on the back, en-
scribed: “To Our Mother — From the Five
of Us.’’ That made up for everything.

The appellation of “Reformed Wife”
is self-imposed. All during our married
life, Bob has been wonderful to me— and
for me I was young, independent, con-
ceited. I felt important enough so that
things had to go my way or they didn’t
go. I had a lot to learn and from Bob I
have learned a lot. especially about

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patience and understanding.

Seriously, in a sense Bob does reform
people, because he has the capacity for
bringing out the best in his associates. He
has this effect on performers. In his en-
thusiasm for his work, he may say things
he doesn’t mean. Sometimes they may
even get awfully mad while it’s happening.
Invariably, they’ll wind up doing their best
work and realizing why.

In his own way, Bob will hammer at
things and eventually you do something
ibout them. For instance, I have to watch
my weight. If I had a husband who just
sat by and said nothing, I’m sure I’d be
fat. But not Bob. He keeps after me.
‘What goes on here!” he’ll say. “What
gives? Better do something about it.” And
of course I do.

During the war, I missed Bob terribly. It
seemed we were always saying goodbye,
and once when he called me from some
listant camp, I didn’t even recognize his
mice. I must confess that at first I did
complain a little. Then I went on a few
tours with Bob and saw what he did for
those boys. It was just that he was such a
tood man to have around. That reminds
ne of something that happened not so long
igo when another great comedian adroitly
ummed up everything I would like to
jxpress.

It happened at the Friars Club, where
a Testimonial Dinner for Bob was in full
sway. You know how the saying goes,
bout people not appreciating you until
/ou are dead. It’s never applied to Bob,
because someone is always saying some-
thing. This time it was Jack Benny who
got up and talked. One sentence I’ll never
corget.

“Bob Hope is a good man.”

Just the way Jack said it, in front of all
those famous people, too — and especially
the word good — thrilled me as I never
hope to be thrilled again.

The End

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WRITE

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Brief Reviews

l// (F) ACCUSED, THE— Paramount: School-
marm Loretta Young can count herself lucky she has
Attorney Robert Cummings to look after her, when she
kills Douglas Dick in self-defense, arousing the sus-
picions of Wendell Corey. An absorbing story with
Loretta turning in a fine job. (Jan.)

l/ (F) ADVENTURES OF DON JUAN— Warners:
Errol Flynn cuts a dashing figure as Spain’s Great
Lover and swordsman supreme. It takes queenly Vi-
veca Lindfors to slow him down. With Robert Doug-
las, Romney Brent. (Feb.)

^//(F) APARTMENT FOR PEGGY— 20th Cen-
tury-Fox: A heartwarming story of a young couple
who bravely tackle their housing problem with the re-
luctant aid of an elderly professor. Jeanne Crain and
Edmund Gwenn are perfect. Bill Holden pleasing as
a veteran student. Don’t miss it. (Dec.)

1/ (F) BELLE STARR’S D AUGHT ER— 20th Cen-
tury-Fox: It’s bullets and brawls with Marshal George
Montgomery after Rod Cameron’s tough hide. Both
boys go for Ruth Roman. With Wallace Ford, Charles
Kemper, William Phipps. (Feb.)

^ (F) BLOOD ON THE MOON— RKO: Bob
Mitchum rides the range in a rough-and-ready West-
ern. Superior acting and good photography make up
for a routine story. With Barbara Bel Geddes, Bob
Preston, Walter Brennan, Phyllis Thaxter. (Jan.)

l/// (F) BOY WITH GREEN HAIR, THE—
RKO: A wonderful movie, reminding us of the war
orphans everywhere in the hope it won’t happen again.
Dean Stockwell movingly portrays the lad with green
hair; Pat O’Brien is kindly old “gramps,” Robert
Ryan an able psychiatrist, Barbara Hale an under-
standing teacher. (Feb.)

1/ (F) COUNTESS OF MONTE CR1STO, THE—
U-I: Skating sequences plus a few songs brighten a
mediocre story which has Sonja Henie posing as a
countess and Olga San Juan pretending to be her maid
at a swanky Norwegian winter resort. Michael Kirby
rescues the girls from an awkward situation. (Feb.)

/ (F) CRY OF THE CITY— 20th Century-Fox:
Realistic crime chronicle with Vic Mature as the
cop, Richard Conte as the killer; also Debra Paget,
Shelley Winters and Hope Emerson. (Dec.)

yV (A) DECISION OF CHRISTOPHER BLAKE ,
THE — Warners: Moss Hart’s drama on divorce made
into an effective adult movie. With Alexis Smith,
Robert Douglas and Ted Donaldson. (Jan.)

l/V'' (F) ENCHANTMENT — Samuel Goldwyn : This
bitter-sweet story, steeped in sentiment, describes the
romances of two pairs of lovers: Teresa Wright and
David Niven, Evelyn Keyes and Farley Granger.
Somewhat slow-paced but charmingly acted. (Feb.)

l/l//F) EVERY GIRL SHOULD BE MARRIED
— RKO: A lively, lopsided romance with husband-
hunting Betsy Drake chasing bachelor Cary Grant.
With Franchot Tone, Diana Lynn and Eddie Albert.
(Feb.)

(F) FIGHTER SQUADRON— Warners: A
Technicolor testimonial to the U. S. Air Force, show-
ing a squadron in action with several scenes taken
from official files. With Edmond O’Brien as an ace
pilot; Robert Stack, John Rodney, Tom D’Andrea.
Exciting entertainment. (Feb.)

/ (F) FIGHTING O’FLYNN, THE — U-I : True to
the Fairbanks formula, Doug rescues damsel-in-dis-
tress Helena Carter in Ireland of 1797. Richard
Greene makes a handsome traitor, Patricia Medina is
his sweetie, Arthur Shields a comical bailiff. (Jan.)

/ (F) FOR THE LOVE OF MARY— U-I: Deanna
Durbin is the center of this tempest-in-a-teapot affair.
A White House telephone operator, she’s pursued by
Don Taylor, Edmond O’Brien, Jeffrey Lynn. (Dec.)

(F) GALLANT BLADE, THE — Columbia: In this
swashbuckling affair Larry Parks saves 17th-century
France. With Marguerite Chapman, George Mac-
ready, Victor Jory. (Jan.)

/i/ (F) HE WALKED BY NIGHT— Eagle Lion:
Here’s a high-voltage crime yarn bristling with action.
Richard Basehart is the ruthess killer, Scott Brady
the cop, Whit Bissell the go-between. (Jan.)

(F) HIGH FURY — Peak-UA: The Swiss Alps
backgrounds a deeply moving drama in which the
lives of Madeleine Carroll, Ian Keith and Michael
Rennie are affected by French orphan Michael Mc-
Keag. A thrilling human-interest tale. (Feb.)

t/ (F) HILLS OF HOME — M-G-M : A homespun
story depicting the rigors of rural life with Edmund
Gwenn as a do-or-die country doctor and Lassie as
his loyal canine friend. For romantic interest, there’s
likeable Tom Drake and pretty Janet Leigh. (Jan.)

^ (F) HOLLOW TRIUMPH — Eagle Lion: A lurid
meller with Paul Henreid in the dual role. With Joan
Bennett, Leslie Brooks, John Qualen. (Dec.)

(F) ISN’T IT ROMANTIC ? — Paramount: Veronica
Lake, Mona Freeman, Roland Culver, Billy De Wolfe
and Patric Knowles are involved in a slow-paced and
feeble turn-of-the-century filmusical. (Dec.)

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Please rush me the new Harford Frocks Style Line and I
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✓✓ (F) JOAN OF ARC— Wanger-RKO: Maxwell
Anderson’s play made into a big-scale Technicolor
movie with Ingrid Bergman heading an outstanding
cast. Jose Ferrer scores as the Dauphin. A field day
for lovers of pomp and pageantry. (Jan.)

l/V (F) JULIA MISBEHAVES— M-G-M: Greer
Garson goes gay in a frivolous farce. With Walter
Pidgeon, Cesar Romero, Liz Taylor, Peter Lawford.
(Dec.)

W'V' (F) JUNE BRIDE — Warners: Bette Davis is
a super-efficient magazine editor and Bob Montgomery
is her hard-to-get swain in an amusing comedy. (Dec.)

(F) KIDNAPPED — Monogram: Tepid version of the
Stevenson classic with Roddy McDowall as the
orphaned young Scot. (Jan.)

(F) KISSING BANDIT. THE— M-G-M: Frank
Sinatra and Kathryn Grayson sing love duets in a
lush, Technicolor musical of Old California. Son of
a notorious kissing bandit, Frankie tries to live up
to his old man’s reputation with disastrous results.
Good singing and dancing partially compensate for a
weak story. With J. Carrol Naish. (Feb.)

WV' (F) KISS THE BLOOD OFF MY HANDS—
U-I : This romantic melodrama has hot-headed Burt
Lancaster messing up his life and nearly wrecking
Joan Fontaine’s, too. A lively, lusty thriller. (Jan.)

(F) LET’S LIVE A LITTLE— Eagle Lion: Ad-
vertising man Robert Cummings is on the verge of a
nervous breakdown because of man-chasing client
Anna Sten. Along comes psychiatrist Hedy Lamarr to
set him straight. Funny in spots. (Feb.)

✓ (F) LUCK OF THE IRISH, THE— 20th Cen-
tury-Fox: This Irish folk tale in modern dress has
newspaperman Ty Power playing tag with pixie Cecil
Kellaway. Sweet Anne Baxter and sophisticated Jayne
Meadows compete for Ty’s affection. (Dec.)

(F) LUCKY STIFF, THE — Amusement Enterprises
— UA: Crooks and corpses pop up at every turn in
this frenzied affair. Night club singer Dorothy La-
mour gets the chair for murder, wins a pardon at
the last moment, and, with attorney Brian Donlevy’s
help, pretends she’s a ghost. With Claire Trevor and
Marjorie Rambeau. (Feb.)

y' (A) MACBETH — Mercury- Republic: Orson
Welles’s version of Shakespeare's blood-curdling tale
of murder in 17-century Scotland. Weird and noisy
affair, “full of sound and fury ...” (Jan.)

l/V (F) MAN FROM COLORADO, THE— Colum-
bia: Here’s a gripping outdoor drama with plenty of
fireworks. Glenn Ford plays a gun-crazy colonel in
Civil War days. When he goes berserk, neither Wil-
liam Holden nor Ellen Drew can stop him. (Feb.)

1/ (F) MISS TATLOCK’S MILLIONS— Para-
mount: Barry Fitzgerald hires John Lund to imper-
sonate the nitwit heir to the T atlock fortune. Lund
saves his “sister” Wanda Hendrix from her vulture-
like relatives, especially ne’er-do-well Robert Stack.
With Ilka Chase and Monty Woolley. (Dec.)

\/ (F) MY DEAR SECRETARY — Popkin-UA: All
those boss-secretary stories you ever heard are em-
bodied here with fancy frills. Laraine Day is the
pretty secretary, Kirk Douglas her playboy boss.
Keenan Wynn referees their squabbles. (Dec.)

(A) MY OWN TRUE LOVE — Paramount: It’s
a close call for Cupid what with Melvyn Douglas and
his son, Philip Friend, both after Phyllis Calvert in
postwar London. Good acting almost makes this
strange situation believable. With Wanda Hendrix,
Binnie Barnes, Arthur Shields. (Feb.)

y' (F) NIGHTTIME IN NEV ADA — Republic: Cat-
tleman Roy Rogers, aided by Andy Devine and the
Sons of the Pioneers, traps rascally Grant Withers.
Adele Mara is the little lady who has herself quite an
adventure. (Feb.)

(F) NO MINOR VICES — Enterprise-M-G-M:
Here’s a comedy that out-smarts itself, drowning its
chuckles in a torrent of talk. A capable cast includes
Dana Andrews, Lilli Palmer, Louis Jourdan. (Dec.)

p/ (F) PALEFACE, THE — Paramount: Bob Hope
tangles with Injuns and the gal known as Calamity
Jane in this moderately funny spoof on the Old West.
Jane Russell is oh-so-tough as the gun-totin’ female
who knows a sap when she sees one. (Jan.)

\/ (F) RACE STREET — RKO: This sinister gang-
ster story has bookie George Raft tangling with a
rival gang. After Raft’s pal is murdered, police officer
Bill Bendix steps in but George insists on settling the
score personally. (Dec.)

(F) RED SHOES, THE — Rank- Eagle Lion:
This intimate glimpse into the ballet world is a riot
of colors designed to knock your eye out. It’s bizarre,
artistic, overlong, with Moira Shearer tragically torn
’twixt career and love, Anton Walbrook as a heartless
impresario, Marius Goring a composer. (Jan.)

(F) RETURN OF OCTOBER, THE— Colum-
bia: A racetrack romance that’s different, galloping
along briskly with Glenn Ford and Terry Moore at
the reins. (Dec.)

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Earn big, easy cash calling on friends, others.
Show gorgeous greetings for Birthday and
other Everyday events. Amazing 14-
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Also Religious, New Plastic Cards, Gift Wrap-
pings. Stationery and Personalized Paper Nap- f
kins, many more money-makers for you! .
Wonderful earning plan for individuals, clubs. /
etc. Get samples on approval. Write today! i
COLONIAL STUDIOS. INC.. Dept. K-29
642 S. Summer Street. Holyoke, Mass.

WALL
(LEANER

Saves Costly Redecorating

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IMITATION

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Bridal Pair! 25 Glittering Bril-
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age on delivery. (Gift box 50c extra.) SATISFACTION
GUARANTEED! Write! WORLD-WIDE DIAMOND CO..
2451 S. Michigan Avenue Dept, a-917 Chicago 16, Illinois

FOR DAINTY

FEMININE HYGIENE

THOUSANDS USE
BORO-PHENO-FORM

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DR. PIERRE CHEMICAL CO.. Dept. C-12
2020 Montrose Ave.t Chicago 18, III.

■ DR. PIERRE'S,

BORO pjheHjq FORM

114

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Whenever you travel — by
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DO YOU KNOW THE SECRET
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If jittery nerves occasionally keep you
awake, try Miles Nervine. Use only
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two forms — Liquid Nervine or
effervescent tablets.

(F) ROAD HOUSE— 20th Century-Fox: Plenty of
roughhouse in this road house what with Richard Wid-
mark strongly objecting to the romance between his
manager, Cornel Wilde, and his entertainer, Ida
Lupino. Lots of action leading nowhere. (Jan.)

I/' (F) ROGUES’ REGIMENT— U -I : A spy thriller
packed with savage intrigue. Dick Powell is after
Nazi Stephen McNally who flees to Saigon to escape
trial. With Marta Toren and Vincent Price. (Jan.)

(A) SNAKE PIT, THE— 20th Century-Fox:
A daringly different drama, depicting the sights and
sounds in an insane asylum. Olivia de Havilland is
superb as one of its inmates. Leo Genn excells as her
doctor, Mark Stevens makes her a sympathetic hus-
band. Strictly for adults. (Jan.)

V')/ (F) SO DEAR TO MY HEART— Disney-RKO:
Disney’s barnyard fable, combining animation and
live action, is a tender and tuneful tribute to child-
hood days. Bobby Driscoll makes a pet of a black
sheep on granny Beulah Bondi’s farm. Luana Patten
shares Bobby's adventures; Burl Ives is the guitar-
playing village blacksmith. (Feb.)

V' (F) SONG IS BORN, ,4— Samuel Goldwyn: Lots
of jam and a little corn is what you'll get in Danny
Kaye’s latest comedy. Danny is an unworldly profes-
sor, Virginia Mayo is a night club singer who plays
him for a sucker. Benny Goodman, Tommy Dorsey,
Louis Armstrong give out with some swell music.
(Dec.)

✓ (F) SOUTHERN YANKEE, A — M-G-M : Red
Skelton in a slapstick farce of Civil War spies with
Red knocking himself out to win laughs. Arlene Dahl
is the feminine foil, George Coulouris and Brian Don-
levy a pair of knaves. A small-fry special. (Dec.)

Sv' (F) THAT WONDERFUL URGE— 20th Cen-
tury-Fox: A frothy, fun-filled comedy with Tyrone
Power and Gene Tierney indulging in some hilarious
antics. He’s a reporter, she’s an heiress tired of being
lampooned by the press. So she dreams up a story
exposing Ty to public ridicule. With Arleen Whalen,
Reginald Gardner. (Feb.)

1/ (F) THREE GODFATHERS— M-G-M: This big-
scale Western describes how outlaws John Wayne,
Pedro Armendariz and Harry Carey Jr., in their flight
from the law, come across a newborn babe in the desert.
A whale of a sandstorm blows away some of the
sentiment. (Feb.)

(F) THEY LIVE BY NIGHT— RKO : Love
hasn't mucfl of a chance in this pathetic tale of a run-
away convict and his girl. Fine acting by Farley
Granger and Cathy O'Donnell. (Dec.)

lA" (F) THREE MUSKETEERS, THE— M-G-M:
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(A) UNFAITHFULLY YOURS— 20th Cen-
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orchestra leader who suspects his lovely wife, Linda
Darnell, of two-timing him. A slick satire. (Jan.)

^ (F) WALK A CROOKED MILE— Columbia: A
swift-moving thriller with capable Dennis O'Keefe as
an FBI man trailing spies. Detective Louis Hayward
proves a big help while scientist Louise Allbritton is
the unknown quantity. Good entertainment. (Jan.)

(F) WHEN MY BABY SMILES AT ME—
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boy does her wrong, Betty just can’t stop lovin’ that
man It’s sure-fire, guaranteed to give you a glad-
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\/ (F) WHI PLASH— Warners: Conflict is the key-
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girl of his dreams is Alexis Smith unhappily wed to
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a fight. Lots of action with Richard Widmark, James
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S/V <F) YOU GOTTA STAY HAPPY— U-I : Joan
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J^ETTER TO THREE WIVES. A— 20th Century-
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441

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PHOTOPLAY

Contents for April , 19411

HIGHLIGHTS

What Now Tor Mitchum? Florabel Muir

Announcing the Dream House Winner Michael Maury

Transatlantic Call to Rita and Prince Aly Elsa Maxwell

The Montgomery Clift Story Wynn Roberts

Buttons and Bows Edith Gvcynn

Those Screwy Romances Sheilah Graham

Spotlight on Liza (Judy Garland) Louella O. Parsons

The Goodrich Good Life (Olivia de Havilland)

The Story of the Academy Awards

Swedish Homespun (Ingrid Bergman) Joseph Henry Steele

Star in Your Home (Don DeFore) Ruth Waterbury

I Was There (Joan Crawford) Hymie Fink

Beautiful Blonde from Calabasas Ranch

(Betty Grable) Herb Howe

Fisherman’s Feast Kay Mulvey

Missy Dozier’s Bank Account Joan Fontaine

Bond Street Bebop Maxine Arnold

Dan Dailey and the Gas Shortage, told in comics
Foc’s’le Family (Sterling Hayden)

Photoplay Fashions

32
34
36
40
42
44
46
48
52
54
56

There is nothing "wrong" with you. It’s just
another sign you are now a woman, not a
girl ... so now you must keep yourself safe
with a truly effective underarm deodorant.

★ ★ ★ ★ ★

FEATURES IN COLOR

Montgomery Clift

Judy Garland and Liza

Martha Vickers

Minnelli

Jean Peters

Joan Crawford and her

Yvonne De Carlo

children

Colleen Townsend ...

Fisherman’s Feast . .

Audrev Totter

Peter Lawford

SPECIAL EVENTS

Beautv Spots

111

Platter Patter

Brief Reviews

Readers Ine.

Casts of Current Pictures

101

Shadow Stage

Inside Stuff — Cal York

That Trevor Touch

100

Lancaster Air Ways

103

The Undefeated

Laughing Stock

What Should I Do?

Cover: Betty Grable,

star of

“The Beautiful Blonde from

Bashful Bend’

Natural Color Portrait by Paul Hesse
Design by Otto Storeh

Fred R. Sammis, Editorial Director
Ruby Boyd, Managing Editor
Alice Tiller, Assistant Editor
Rena D. Firth, Assistant Editor

Adele Whitely Fletcher, Editor
E. Davenport, Executive Art Director
Deli Hoffman, Associate Art Director
Mary Jane Fulton, New York Beauty Editor

Beverly Linet, Assistant Editor

Ann Daggett, Hollywood Editor
Frances Morrin, Hollywood Managing Editor
Sara Hamilton, Associate Editor
Ruth Waterbury, Contributing Editor

Hymie Fink, Photographer
Sterling Smith, Photographer
Betty Jo Rice, Asst. Photographer
Maxine Arnold, Contributing Editor

APRIL. 1949 VOL 34' NO‘ 5

ice Presiaerit, r» TorwiiiiP’or -Tr.. Eastern Advertising Manager. Chicago office. 221 North La^SaUe

Suite' 90S. 649 South OUve Georee weatne, roy.^gr. rates: U. st' ’ and^oKeasiBna' and

rioSits reserved under Pan-American Copyright Convention. Todos derechos reservados segun La Convencion Pan
ameJfcia de Propiedad Literarla y Artfstica. Title trademark registered n U. S. Patent Office,
americaim Member of Macfadden Women s Group . _ Fa«,t

All foreign editions handled through Macfadden publlcatKms Internatlonal CQrp.. 205 ' hast
aond Street New York 17. N. Y. Carroll Rheinstrom, President; Douglas Lockhart, Vice presiaem.
ThScfSInt's of rtls magazine maynot be reprinted’ either wholly or n part without permission.

1 Printed In U. S. A. by Art Color Printing Co., Duncllen, N. J.

EDWARD ARNOLD
JULES MUNSHIN

SgfNG-HITS!

9 of 'em, naturally!

including.

“Take Me Out To The Ball Game”
“Yes Indeedy”

“The Hayride Song”
“O’Brien To Ryan To Fineburg”
“It’.s Fate, Baby, It’s Fate”
“She’s The Right Girl For Me”
“Baby Doll”

MG-M

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COLOR By | # f §

Technicolor:

FRANK SINATRA

esiher williams

GENE KELLY

DIRECTED BY

BUSBY BERKELEY

PRODUCED BY

ARTHUR FREED

Screen Play by HARRY TUGEND and GEORGE WELLS •

Story by GENE KELLY and STANLEY DONEN

A METRO-GOLDWYN-MAYER PICTURE

TONI TWINS prove magic of
SOFT-WATER Shampooing

LATHER . . .WAS
KATHERINE’S PROBLEM.

"My shampoo simply would
not lather right”, complained
Katherine Ring. "I’d rub and
rub but still my hair never
had much glint to it!” And
no wonder! Katherine was
using a soap shampoo, and
soaps not only fail to lather
as well in hard water — they
actually leave a film on hair
that dulls natural lustre! So

Jrour hair lacks highlights,
ooks drab and lifeless !

BUT KATHLEENE
GOT HEAPS OF IT!

"Look at all this lather”,
smiled her twin, Kathleene.
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Enriched with Lanolin

Brief Reviews

V'V (F) ACCUSED, THE — Paramount: School-
marm Loretta Young can count herself lucky she has
Attorney Robert Cummings to look after her, when she
kills Douglas Dick in self-defense, arousing the sus-
picions of Wendell Corey. An absorbing story with
Loretta turning in a fine job. (Jan.)

|/l/ (A) ACT OF VIOLENCE— M-G-M: Robert
Ryan goes gunning for Van Heflin in this grim, sus-
penseful tale of revenge. As Van’s terrified wife,
Janet Leigh turns in a topnotch job. With Phyllis
Thaxter, Mary Astor. (Mar.)

/" (F) ADVENTURES OF DON JUAN — Warners:
Errol Flynn cuts a dashing figure as Spain’s Great
Lover and swordsman supreme. It takes queenly Vi-
veca Lindfors to slow him down. With Robert Doug-
las, Romney Brent. (Feb.)

t/ (F) BELLE STARR’S DAUGHTER— 20th Cen-
tury-Fox: It’s bullets and brawls with Marshal George
Montgomery after Rod Cameron’s tough hide. Both
boys go for Ruth Roman. With Wallace Ford, Charles
Kemper, William Phipps. (Feb.)

✓ (F) BLOOD ON THE MOON — RKO: Bob
Mitchum rides the range in a rough-and-ready West-
ern. Superior acting and good photography make up
for a routine story. With Barbara Bel Geddes, Bob
Preston, Walter Brennan, Phyllis Thaxter. (Jan.)

/Vk/ (F) BOY WITH GREEN HAIR, THE—
RKO: A wonderful movie, reminding us of the war
orphans everywhere in the hope it won’t happen again.
Dean Stockwell movingly portrays the lad with green
hair; Pat O’Brien is kindly old “gramps,” Robert
Ryan an able psychiatrist, Barbara Hale an under-
standing teacher. (Feb.)

l// (F) CHICKEN EVERY SUNDAY— 20th Cen-
tury-Fox: A homey, heart-warming movie which
makes the point that a so-called failure can be a suc-
cess as a human being, especially if he’s Dan Dailey
and his wife is understanding Celeste Holm. Colleen
Townsend, Alan Young, William Frawley, Connie
Gilchrist are all in there pitching. (Mar.)

k/ (F) COUNTESS OF MONTE CRISTO, THE—
LT-I : Skating sequences plus a few songs brighten a
mediocre story which has Sonja Henie posing as a
countess and Olga San Juan pretending to be her maid
at a swanky Norwegian winter resort. Michael Kirby
rescues the girls from an awkward situation. (Feb.)

(F) CRISS CROSS — U-I : In this talky, muddled
meller, Burt Lancaster, Yvonne De Carlo and Dan
Duryea form the ill-starred trio who tangle with the
law and each other. It’s all very criss-crossy. (Mar.)

V'y' (A) DARK PAST, THE — -Columbia: Psychia-
trist Lee J. Cobb dissects gangster William Holden
to see what makes him tick. His findings make for
a superior, swift-moving crime yarn. Nina Foch and
Lois Maxwell head the highly competent cast. (Mar.)

(A) DECISION OF CHRISTOPHER BLAKE,
THE — Warners: Moss Hart’s drama on divorce made
into an effective adult movie. With Alexis Smith,
Robert Douglas and Ted Donaldson. (Jan.)

l//” (F) ENCHANTMENT — Samuel Goldwyn: This
bitter-sweet story, steeped in sentiment, describes the
romances of two pairs of lovers: Teresa Wright and
David Niven, Evelyn Keyes and Farley Granger.
Somewhat slow-paced but charmingly acted. (Feb.)

k/k/ (F) EVERY GIRL SHOULD BE MARRIED
— RKO: A lively, lopsided romance with husband-
hunting Betsy Drake chasing bachelor Cary Grant.
With Franchot Tone, Diana Lynn. (Feb.)

k/k/ (F) FAMILY HONEYMOON— U-I: A hilari-
ous comedy in which Fred MacMurfay weds widow
Claudette Colbert to the chagrin of Rita Johnson,
competing for Fred’s affections. Claudette’s three kids
really make it tough for their brand new daddy when
they go along on the honeymoon. (Mar.)

k/k/ (F) FIGHTER SQUADRON— Warners: A
Technicolor testimonial to the U. S. Air Force, show-
ing a squadron in action with several scenes taken
from official files. With Edmond O’Brien as an ace
pilot; Robert Stack, John Rodney, Tom D’Andrea.
Exciting entertainment. (Feb.)

k/ (F) FIGHTING O’ FLYNN, THE— U-I: True to
the Fairbanks formula, Doug rescues damsel-in-dis-
tress Helena Carter in Ireland of 1797. Richard
Greene makes a handsome traitor, Patricia Medina is
his sweetie, Arthur Shields a comical bailiff. (Jan.)

(F) GALLANT BLADE, T HE — Columbia : In this
swashbuckling affair Larry Parks saves 17th-century
France. With Marguerite Chapman, George Mac-
ready, Victor Jory. (Jan.)

k/l/ (F) HE WALKED BY NIGHT— Eagle Lion:
Here’s a high-voltage crime yarn bristling with action. |
Richard Basehart is the ruthless killer, Scott Brady
the cop, Whit Bissell the go-between. (Jan.)

1/1/ (F) HIGH FURY— Peak-UA: The Swiss Alps
backgrounds a deeply moving drama in which the
lives of Madeleine Carroll, Ian Keith and Michael
Rennie are affected by French orphan Michael Me- I
Keag. A thrilling human-interest tale. (Feb.)

1/ (F) HILLS OF HOME— M-G-M: A homespun *
story depicting the rigors of rural life with Edmund i
Gwenn as a do-or-die country doctor and Lassie as
his loyal canine friend. For romantic interest, there’s
likable Tom Drake and pretty Janet Leigh. (Jan.)

/V (F) JOAN OF ARC — Wanger-RKO : Maxwell
Anderson’s play made into a big-scale Technicolor
movie with Ingrid Bergman heading an outstanding

( Continued on page 6)

RIOT HAS
THE NATION
IN A ROAN,
FNOH SHORE
TO SHORE/

STAR.R/NG-

WAYNE VIRGINIA

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cast. Jose Ferrer scores as the Dauphin. A field day
for lovers of pomp and pageantry. (Jan.)

y' (F) JOHN LOVES MARY — Warners: Here’s a
harum-scarum farce that has returning soldier Ronald
Reagan enmeshed in a pack of lies that almost loses
him lovely Patricia Neal. Jack Carson, Wayne Morris
and Edward Arnold help with the laughs. (Mar.)

1/1/ (F) KISS IN THE DARK, A— Warners: In
this gay, romantic comedy, Jane Wyman scores as a
down-to-earth model who teaches artistic David Niven
how to enjoy life. A real rib-tickler with Victor Moore,
Wayne Morris, Broderick Crawford. (Mar.)

1/ (F) KISSING BANDIT, THE — M-G-M: Frank
Sinatra and Kathryn Grayson sing love duets in a
lush. Technicolor musical of Old California. Son of
a notorious kissing bandit, Frankie tries to live up
to his old man’s reputation with disastrous results.
Good singing and dancing partially compensate for a
weak story. With J. Carrol Naish. (Feb.)

PA/ (F) KISS THE BLOOD OFF MY HANDS —
U-I : This romantic melodrama has hot-headed Burt
Lancaster messing up his life and nearly wrecking
Joan Fontaine’s too. A lively, lusty thriller. (Jan.)

t/ (F) LET’S LIVE A LITTLE — Eagle Lion: Ad-
vertising man Robert Cummings is on the verge of a
nervous breakdown because of man-chasing client
Anna Sten. Along comes psychiatrist Hedy Lamarr
to set him straight. Funny in spots. (Feb.)

^t/ (F) LETTER TO THREE WIVES, A— 20th
Century-Fox: Three lovely ladies are thrown into a
dither by a letter from an erstwhile friend informing
them that she has run off with one of their husbands.
Jeanne Crain, Linda Darnell and Ann Sothern are
kept on tenterhooks — and so are you — regarding Kirk
Douglas, Jeffrey Lynn and Paul Douglas. (Mar.)

t/l/ (F) MAN FROM COLORADO, THE— Colum-
bia: Here’s a gripping outdoor drama with plenty of
fireworks. Glenn Ford plays a gun-crazy colonel in
Civil War days. When he goes berserk, neither Wil-
lian Holden nor Ellen Drew can stop him. (Feb.)
(F) MEXICAN HAY RIDE— U-I: Abbott and Cos-
tello indulge in some Mexican monkeyshines in this
frantic farce, assisted by Luba Malina, Virginia Grey,
John Hubbard. Not up to standard. (Mar.)
y (F) MR. PERRIN AND MR. TRAILL — Rank-
Eagle Lion: In this genteel, slow-paced story, Marius
Goring portrays a balmy British school teacher dom-
inated by headmaster Raymond Huntley. The one
bright spot in Goring’s drab life is nurse Greta Gynt
but she prefers David Farrar. (Mar.)
y (A) MY OWN TRUE LOVE — Paramount: It’s
a close call for Cupid what with Melvyn Douglas and
his son Philip Friend, both after Phyllis Calvert in
postwar London. Good acting almost makes this
strange situation believable. With Wanda Hendrix,
Binnie Barnes, Arthur Shields. (Feb.)

i/ (F) NIGHTTIME IN NEVADA— Republic: Cat-
tleman Roy Rogers, aided by Andy Devine and the
Sons of the Pioneers, traps rascally Grant Withers.
Adele Mara is the little lady. (Feb.)

y (F) PALEFACE, THE — Paramount: Bob Hope
tangles with Injuns and the gal known as Calamity
Jane in this moderately funny spoof on the Old West.
Jane Russell is oh-so-tough as the gun-totin’ female
who knows a sap when she sees one. (Jan.)
yy (A) QUIET ONE, THE — Film Documents:
How America’s underprivileged children are saved
from delinquency is effectively presented in this in-
telligent, adult documentary featuring ten-year-old
Donald Thompson. It’s food for thought! (Mar.)

yy (F) RED SHOES, THE — Rank-Eagle Lion:
This intimate glimpse into the ballet world is a riot
of colors designed to knock your eye out. It’s bizarre,
artistic, overlong, with Moira Shearer tragically torn
’twixt career and love, Anton Walbrook as a heartless
impresario, Marius Goring a composer. (Jan.)

(F) ROAD HOUSE — 20th Century-Fox: Plenty of
roughhouse in this road house what with Richard Wid-
mark strongly objecting to the romance between his
manager. Cornel Wilde, and his entertainer, Ida
Lupino. Lots of action leading nowhere. (Jan.)

1/ (F) ROGUES’ REGIMENT— U-I : A spy thriller
packed with savage intrigue. Dick Powell is after
Nazi Stephen McNally who flees to Saigon to escape
trial. With Marta Toren and Vincent Price. (Jan.)

(F) SIREN OF ATLANTIS— Nebenzal-UA: Here’s
a fantastic tale with Maria Montez as the queen of
a fabled kingdom. Dennis O’Keefe and Jean Pierre
Aumont of the Foreign French Legion are her struggl-
ing captives. Pretty farfetched if you ask us. (Mar.)

yyy (A) SNAKE PIT, THE — 20th Century-Fox:
A daringly different drama, depicting the sights and
sounds in an insane asylum Olivia de Havilland is
superb as one of its inmates. Leo Genn excells as her
doctor, Mark Stevens makes her a sympathetic hus-
band. Strictly for adults. (Jan.)

yy (F) SO DEAR TO MY HEART — Disney-RKO:
Disney’s barnyard fable, combining animation and
live action, is a tender and tuneful tribute to child-
hood days. Bobby Driscoll makes a pet of a black
sheep on granny Beulah Bondi’s farm. Luana Patten
shares Bobby’s adventures; Burl Ives is the guitar-
paying village blacksmith. (Feb.)

(Continued on page 8)

"ALIAS

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A Paramount Picture
starring

RAY MILLAN

AUDREY TOTTER
THOMAS MITCHELL

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GEORGE MACREADY-FRED CLARK
T ' ENDRE BOHEM ■ T JOHN FARROW

Screenplay by Jonathan Latimer * Original story by Mindret Lord

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✓ (F) SUN COMES UP, THE — M-G-M : A senti-
mental Technicolor treated story about a concert
singer who loses one son and regains another. Jean-
ette MacDonald is the unhappy lady, Claude Jarman
Jr., the orphan who enters her life at a crucial mo-
ment. Supporting players include Lloyd Nolan, Percy
Kilbride and Lassie. (Mar.)

✓✓ (F) THAT WONDERFUL URGE— 20th Cen-
tury-Fox: A frothy, fun-lilled comedy with Tyrone
Power and Gene Tierney indulging in some hilarious
antics. He’s a reporter, she’s an heiress tired of being
lampooned by the press. So she dreams up a story
exposing Ty to public ridicule. (Feb.)

✓ (F) THREE GODFATHERS— M-G-M: This big-
scale Western describes how outlaws John Wayne,
Pedro Armendariz and Harry Carey Jr., in their flight
from the law, come across a newborn babe in the
desert. A whale of a sandstorm blows away some of the
sentiment. (Feb.)

✓ (A) THIS WAS A WOMAN — Excelsior-20th
Century-Fox: A British-made meller describing how
an evil woman dominates her family, almost — but not
quite — getting away with murder. Sonia Dresdel is
completely wicked, Walter Fitzgerald and Barbara
White pathetic, Emrys Jones and Julian Dallas per-
sonable. Not everyone’s cup of tea. (Mar.)

✓✓ (A) UNFAITHFULLY YOURS— 2 0th Cen-
tury-Fox; Rex Harrison amusingly portrays a famous
orchestra leader who suspects his lovely wife, Linda
Darnell, of two-timing him. A slick satire. (Jan.)

✓ .(F) WALK A CROOKED MILE— Columbia: A
swift-moving thriller with capable Dennis O’Keefe as
an FBI man trailing spies. Detective Louis Hayward
proves a big help while scientist Louise Allbritton is
the unknown quantity. Good entertainment. (Jan.)

✓✓ (F) WHEN MY BABY SMILES AT ME—
20th Century-Fox: A backstage burlesque story team-
ing Bet*y Grable and Dan Dailey. Although Danny-
boy does her wrong, Betty just can’t stop lovin’ that
man. It’s sure-fire, guaranteed to give you a glad-
sad time. (Feb.)

✓ (F) WHIPLASH — Warners: Conflict is the key-
note of this prize fight picture with Dane Clark putting
up a game battle both inside and outside the ring. The
girl of his dreams is Alexis Smith unhappily wed to
fight promoter Zachary Scott. With Jeffrey Lynn,
Eve Arden. (Feb.)

✓ (F) WHISPERING SMITH— Paramount: This
Western in Technicolor has Alan Ladd playing a soft-
spoken, swift-acting railroad cop. His bosom pal, Rob-
ert Preston, is led astray by crooked Donald Crisp to
the distress of Brenda Marshall. (Mar.)

✓✓ (F) WORDS AND MUSIC— M-G-M: Metro’s
super-duper musical, inspired by songwriters Larry
Hart and Dick Rodgers, is jam-packed with stars
strutting their stuff. There’s June Allyson, Perry
Como, Gene Kelly, Mickey Rooney, Judy Garland,
Janet Leigh and Tom Drake, among others. Quite an
ear-and-eyeful 1 (Mar.)

✓✓ (F) YELLOW SKY — 20th Century-Fox: Here’s
a really rugged prairie drama with Gregory Peck and
Anne Baxter saying it with bullets. Greg and his gang
are after Anne’s gold but she isn’t giving it up without
a fight. Lots of action with Richard Widmark, James
Barton. (Feb.)

✓✓ (F) YOU GOTTA STAY HAPPY— U- 1: Joan
Fontaine and Jimmy Stewart go skylarking in this
giddy romance in which Joan is a pretty-but-spoiled
heiress and Jimmy a sane-but-susceptible working man.
Eddie Albert snags his share of laughs. (Feb.)

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A SANTANA PRODUCTION OF THE NOVEL BY WILLARD MOTLEY

Directed by NICHOLAS RAY * Produced by ROBERT LORD

Mickey Rooney, who seems to have settled down to happiness,
celebrates with fiancee Martha Vickers at Carl Brisson party

When Carl opened singing engagement at Cocoanut Grove,
son Fred (left) and daughter-in-law Roz Russell feted him

INSIDE

STUFF

( ttC \ otkd G

0^ HcGWcccl

THE Heart Department: When a popular star-
let heard Montgomery Clift had arrived in
town from Europe and took right off again to
attend a wedding in Switzerland, she moaned,
“If it’s his own, I’ll kill myself.” She can live
a little longer, Monty is much too career-minded
for marriage at this time . . . Two of Hollywood’s
most attractive men, Clark Gable and Errol
Flynn, whose estranged wife Nora cares most
about Dick Haymes, are setting off for Europe
heart-free . . . The engagement announcement
of Mickey Rooney and Martha Vickers, a shy,
retiring beauty who recently divorced A. C. Lyles,
has the town agog. Since neither has a final
decree, bets are that the marriage will never
come off. Martha just isn’t Mickey’s type . . .
Van and Evie Johnson were puzzled and a little
hurt over Keenan Wynn’s sudden decision to
marry Betty Butler without a word to either
of them. But Keenan, an impulsive fellow, didn’t
notify his studio either . . . You’d be amazed
at the efforts of certain friends to prevent a
popular out-of-town visitor from marrying a
stuffy actress. They may succeed, too.

Papa Bogey: “I want to see my son right here
beside me,” Humphrey Bogart demanded at the
hospital, a few hours after Steve Humphrey
Bogart was born and the doctor, who probably
takes Bogey’s movie roles seriously, agreed. A
few minutes later in cap, gown and mask, Bogey
examined his small son at close range.

“You know, Doc, he’s not as bad-looking as I
thought he was going to be,” he finally said.
“Pretty good-looking kid, don’t you think?”

The following day, the staff was bowled over
by Bogey, who arrived loaded with camera and
rolls of film. While nurses stopped in their
tracks, Bogey shot picture after picture of his
very young son.

Thoughts in Passing: Marguerite (Maggie to
her friends) Chapman was the prettiest bride of
the year in her Don Loper wedding dress. Pretty
and happy because she married the man she’s
loved for seven years, Bentley Ryan . . . Charles
Chaplin and his wife, staring at James Mason
and his wife, who stare back. Each wondering
what the other is doing on a party dance floor,
perhaps . . . Frank Sinatra popped out with the
shortest haircut of the year. He and Nancy
seemed to have reached some sort of each-going-
his-own-way agreement. We seldom see them
( Continued on page 12)

During Venetian stay, an Italian family gave Ty Power, with his bride Linda, use of their home,
so that he could make costume changes, enjoy a rest during making of “Prince of Foxes”

One of the stars in
Ty’s new film is Lin-
da’s sister, Ariadne
Christian, left. Mar-
riage of Ty and
Linda, right, de-
lighted the “Tifosi,”
as the Italian bobby-
soxers are called

Point of interest : Guests at recent Darryl
Zanuck testimonial dinner were French ac-
tor Louis Jourdan and charming wife Berthe

Jitterbug sequence: When Ann Sothern and
Cesar Romero put on their act it’s a howl
— for host Zach Scott, in background, right

together these days . . . Joanne Dru is fast becoming-
one of the most popular belles of the town. Seems to
have garnered a new radiance since her final separa-
tion from Dick Haymes . . . And when all the shooting
is over, popularity honors will be shared this coming-
year among three males— Farley Granger, Burt Lan-
caster and Montgomery Clift. Want to bet?

Set Doings: The sights one sees on these movie sets!
For instance, the last thing we expected to see on the
“Madam Bovary” stage was Van Heflin soundly
whacking the bottom of a very young infant; so
young, in fact, it was playing the role of a newly
born baby. Nearby sat a nurse holding a stand-in
baby, ready to go before the camera if the action
went beyond the specified time limit. With each baby
requiring his own nurse as well as a welfare worker,
the scene, even though it ran a matter of seconds,
was a costly one.

Van is happier in this role of a country doctor than
lie’s been in a long time. His past health, which has
kept him on a soft drink and soft food diet, has im-
proved his looks and his outlook. At no time, he told

us, have he and his cute, redheaded Frances been
happier.

Through her dressing room door, we saw Jenni-
fer Jones deep in a business conversation anent her
fiancees decision to sell out the David Selznick studios,
lock, stock and barrel, and somehow we feel David’s
unloading of this heavy burden adds to her happiness.
Their only misunderstandings, we’ve been told, were
caused by his unending working hours that kept them
apart. Now they can really relax and be happy on
that European honeymoon.

And one more thought, one of the main topics of
conversation in Hollywood today concerns Jennifer;
her quiet goodness and understanding toward her ex-
husband Bob Walker through all his troubles, and her
increasing beauty as time goes by. The word on all
sides is: “Jennifer Jones is growing to be the most
beautiful woman in Hollywood!”

Bits and Pieces: Wanda Hendrix and Audie Murphy
hope the old adage of “a bad start, a good ending,” is
true. Wanda’s attack of virus almost held up their
wedding and Audie’s attack immediately after cer-

Rear view vision: Janet Leigh and her
parents, the Fred Morrisons, get off to
a good start — for a day’s fun together

tainly postponed their honeymoon . . . James
Mason has a rival in his love for cats. How-
ard Duff is so crazy over his seven feline
pets, he’s taken a small Laurel Canyon house
with lots of ground for them to play in. “I
admire their independence,” Howard says . . .
Tall and gracious Patricia Neal stole the show
at the Command Performance in England.
Patricia is a beauty and a charmer . . . Alan
Ladd has lost so much weight, his friends are
concerned about him. English fans mobbed
Alan and Sue during their Command Perform-
ance appearances . . . The Bob Hopes have
despaired of finding a house in Beverly Hills
large enough for their family, so, in order to
transact his business nearer home, Bob is hav-
ing built on his property, a separate cottage to
be used for his radio writers and business
secretary. In this way both Mrs. Hope and
the children can see him oftener. If he ever
stays put, that is . . . The dance rehearsals
for “Oh, You Beautiful Doll” are so strenuous,
( Continued on page 14)

Salute to a bride — from groom Marshall
Thompson. She’s the former Barbara Long,
sister of young movie actor, Richard Long

Hoot mon — it’s Crosby, dressed for the
occasion — a golf tournament he sponsored.
Proceeds were split between Sister Kenny
Foundation and local community fund

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INSIDE

Anticipation: Reconciled John Paynes
take the cake for fourth anniversary

( Continued from page 13) Mark Stevens
eats dinner while resting his weary feet
in a pail of hot water. “Not romantic, but
darned comfortable,” Mark grins . . . The
way Errol Flynn has taken the starch
from Greer Garson’s dignity on the “For-
syte Saga” set has the whole studio
chuckling. The two like each other very
much and enjoy working together.

Tarzan on a Spot: When Lex Barker
and his pretty wife walked into the
lounge of the Palm Springs Tennis Club,
Dennis O’Keefe motioned to a small boy
and said, “Look, there’s Tarzan.”

The little boy surveyed Lex from head
to foot. “Aw, that’s not Tarzan,” he said.
“He’s got pants on.”

“Well,” Dennis said, “Tarzan has to
dress like other people in a place like
this.”

The lad thought it over and finally
approached Lex. “Are you Tarzanl” he
asked. “That man over there said you
were.”

Lex admitted, under the boy’s skeptical
gaze, that he was indeed the jungle king.
“All right then, let’s see you leap up to
that beam,” the boy challenged. “Sure,
go ahead,” O’Keefe seconded. “Don’t
want to let the boy down.”

Lex, with an I’ll-get-you^foi’-this glare
at the grinning O’Keefe, who was loving
it, looked again at the small boy’s ex-
pectant face and then measured the dis- )
tance to the beam. With a running jump
he made it, hanging for seconds with one
hand. The boy’s look of adoration was
his reward. But later, when O’Keefe
learned Lex was planning revenge by
assuring the lad Dennis was a real “T”
man who would take him on a hunt for
criminals, O’Keefe carefully kept out of
sight.

Children: Zack and Elaine, the wise j
and understanding parents of Waverly
Scott, realize the tremendous importance
of coming, at long last, into the teens, j ;
So, on Waverly ’s thirteenth birthday, j
they gave her the privilege of inviting
any seven of her school chums for an
overnight house party, stocked the ice- ;
box with Cokes, hot dogs and everything |
youngsters love, and then repaired to :
their own room while Waverly and her
friends took over. They were proud, Zack
and Elaine, of their daughter’s choice,
that included all creeds, but were a little
puzzled but undaunted over their desire <

STUFF

to sleep on the living room floor in
sleeping bags. Certainly no little girl
ever had a nicer teen-age birthday to
remember.

Little Stephanie Bendix, the pride and
joy of actor Bill and his wife, is most
submissive to her nurse’s requests but
relaxes completely on Thursdays, the
nurse’s day off. Recently, Stephanie re-
ceived two chocolate rabbits, that were
placed on the nursery mantel to be ad-
mired, but not eaten right then by such
a little girl. The first Thursday after that,
Mrs. Bendix discovered Stephanie on a
chair by the mantel hastily stuffing into
her mouth the last bite of one of the
rabbits.

“Stephanie,” Mrs. Bendix said aghast,
“you’ve eaten one of your rabbits.”

“Yes,” said Stephanie, “and next
Thursday I’m going to eat the other one.”

A couple who seem to prove the
younger they marry, the happier they
are, is Mona Freeman and her husband,
Pat Nerney. The only drawback to her
complete happiness is that Mona wants
to play more mature roles. “After all, I
am a wife and mother,” she says. But all
we could think of was what an absolute
riot she’d be at a college dance.

At the home of Jack and Anne Warner,
we encountered a group of youngsters
perfectly at home among the older set.
Cal sat with director Mervyn LeRoy,
his wife Kitty, and her two lovely daugh-
ters. MCA head, Jules Stein, his beau-
tiful wife Doris, and their two attractive
daughters Jean and Susan were the
guests of Jack and Anne’s young daugh-
ter, Barbara, home from school in
Switzerland. Young Peter Plant, Con-
stance Bennett’s son, joined us down-
stairs in the Warner playroom to view
Bob Hope’s picture “The Paleface.” Cer-
tainly there could be no more charming
group of youngsters anywhere than these
teen-age Hollywoodites.

Shirley and John: At a recent party
Cal noted that Shirley Temple and her
husband John Agar never seemed to
roam three feet apart. Slim, trim and
beautiful in her dark gray satin suit,
Shirley complained she had gained a few
pounds during the shooting of “Mr. Bel-
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INSIDE STIFF

Ben Gage’s mood called for a pipe —
and a wifely aside from Esther Williams!

so happy making it. While Sally and
Shirley exchanged memories of their
mutual alma mater, Westlake School for
Girls, Cal chatted with John, a shy, reti-
cent lad whose modesty is charming.

“How about you emerging one of the
favorites on Photoplay’s popularity
polls?” we asked him. “I’ll bet Shirley
was proud of you.”

“She was,” he smiled, and then we
discovered, after questioning, John had
made that poll after only one picture.

What a Romance! At a recent party,
Cal sat at the same table with Ava
Gardner and Howard Duff and viewed,
close up, this strangest of romances.
Throughout the evening Howard sat in
the deepest of gloom while beautiful Ava,
in her charming red gown, danced and
chatted with others. She always returned,
however, to the taciturn Duff, who made
no pretense of being anything but mis-
erable.

Assured by others that Mr. Duff en-
joyed the same misery while courting
Yvonne De Carlo, we surmise the actor
is suffering from some deeply rooted
hurt that finds a comforting outlet in his
gloomy torch bearing. Certainly, Ava
is not only one of the most beautiful
women in Hollywood, but one of the best
liked and why she doesn’t either reject
or accept Duff, is beyond us. Yet Ava
dates no one else and when he uncere-
moniously departed the festivities, it
was Ava who ran after him to see he
did not leave alone.

Anyone know the answer to this long-
enduring romance with the lady saying
no while the hero suffers, but is still
her best beau?

Flynn Report: Errol Flynn, who often
drops by Cal’s house on his way home
from M-G-M, came by at an opportune
moment. Anne Baxter and John Hodiak,
who were leaving for a holiday in Ja-
maica, were here discussing their trip
when Errol popped in. He at once set
things in motion with cables to friends
and Anne and John set off well fortified
with information from both of us. A few
evenings later a few friends gathered at
(Continued on page 21)

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More About Muscles:

The nicest shoulders in Hollywood be-
long to John Lund! And besides being
awfully nice to look at, lie’s very con-
vincing as an actor. He is the most inter-
esting hunk of man Hollywood has seen
in many a year. I hope the producers
continue to cast him in romantic roles such
as he had in "A Foreign Affair.”

Sunnxe Wilson
Manchester, Conn.

You can have your most dangerous men
and your most likely-to-succeed men, but
when it comes to an all-around wonderful
dancer and actor, with charm and sex ap-
peal, give me Dan Dailey. How about
hearing more about Dan in Photoplay ?

Jane Nevers
Jefferson, N. H.
( Watch for the May issue.)

I fail to see how Dorothy Kilgallen can
use the word “menace” in connection with
Montgomery Clift. In my vocabulary, a
menace is something to stay away from.
And anyone who’d want to stay away from
Monty Clift, is plumb crazy!

Doris E. Pyle
Salina, Kans.

My boy friend’s nice but he’d be more so

If he had Burt Lancaster’s torso!

(From a reader who’s been sighing ever
since she read Kilgallen’s “Torso” tonic,
“Muscles, Magnetism and Menace!”)

Dorris Davies
New York, N. Y.

Cheers and Jeers:

During the war, when flags were flying
and bands were playing, employers prom-
ised to give the returned veterans the same
positions they held prior to their leaving.
Yet, why is it that John Carroll, who had
been getting nice fat parts as a civilian, is
now reduced to deplorable roles in “B”
pictures since his return? Seems to me,
they’re not doing right by our John.

Sally Wish
Chicago, 111.

After seeing “Red River,” I think a new
star has finally been noticed. And I do
not mean Montgomery Clift. I am talking
about John Ireland. His acting is natural j
and not forced. And although his voice ;
is low, it is commanding. But just be-
cause he is not starred, he seems to have
been overlooked by movie fans.

Norma Dene Giggy
Springfield, Mo.

Your article about the “21 Club,” Jan-
uary issue, was very heartening. I refer
especially to the part about none of the
members drinking or smoking. I only wish
more of the Hollywood stars would be as
good examples to their young public.

Bonnie Longfellow
Goodland, Ind.

Back Talk:

1 was reading a letter in Photoplay that
said Dan Dailey was a far greater dancer
than Gene Kelly. I think Gene Kelley is
a wonderful dancer. All Dan Dailey does
is jump around.

Doris Anne Duval
Tampa, Fla.

In your January issue, a young lady
wrote that while Peter Lawford was in
Cleveland, he wouldn't sign autographs.
In answer, I would like to say when Pete
was in New Rochelle, he shook hands and
signed autographs until Keenan Wynn
and the policeman had to drag him away —
it was pouring rain besides.

Anne Schultz
New Rochelle, N. Y.

Has Hollywood gone wacky? What’s
the big idea of starring Farley Granger
opposite Joan Evans? Might as well star
Margaret O’Brien opposite Clark Gable.
What happened to Cathy O’Donnell ? She
was meant for the part of Rnscanna 1 Mc-
Coy. Why, if I was Farley Granger (that
wonderful hunk of man) I’d be insulted if
T was starred opposite a baby like that.

Janet Lange
Ambridge, I ’a.

Question Box:

In one magazine, I read that Douglas
Dick was born in 1920 and in another
magazine I read he was twenty-five years
old. Could you tell me his correct age?

Mary Jocis
Sheboygan, Wis.
(He zms born Nov. 20, 1920.)

Could you please tell me if Burt Lan-
caster’s real name is Burton Lancaster?
Also, my friend said he is Italian, but I
said he wasn’t. I can’t prove it. Would
you please tell me ?

Lillian Levinus
New York, N. Y.

( His full i wine is Burton Stephen Lan-
caster. He was born in Naze )'ork City
anil traces his ancestry hack to the House
of Lancaster, England.)

My friends and I thought Lana Turner
did a" wonderful job of acting in “The
Three Musketeers.” Did she have any
make-up on in the scene where she was
imprisoned and was trying to get June
Allyson’s pity?

Shirlee Owen
Ogden, Utah

(Yes. A ivhitc make-up teas used to
make Lana look pale and ill.)

We Houstonians (of the high school
set, at least) are all set to start a new fan
club, but we don’t know what to name it.
Will you help by telling us who those
marvelous, talented, gorgeous twins are
who sang and danced in “Words and Mu-
sic”? We think they are the best young
movie entertainment that has come along
in quite a while.

Toan Gray
Houston, Texa^
(Ramon and Roycc Blackburn, zvho were
well-known night club entertainers before
fhcy broke into movies.)

Address letters to this department to
Readers Inc., Photoplay, 205 East 42nd
Street, New York 17, N. Y. However,
our space is limited. JVe cannot there-
fore promise to publish, return or reply
to all letters received.

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( Continued from page 16) Flynn’s to view
the film shot by the actor on his recent
Jamaica visit. Pat and Cornel Wilde were
leaving the following week for a picture
in Switzerland and both were radiant
that their film together, “Shockproof,”
reaped splendid reviews. Janet Leigh
came by with Arthur Lowe Jr. The
breach between Errol and Nora seems
permanent at the moment with Errol
deeply affected by his wife’s decision.

Food and Femmes: Elizabeth Taylor,
Janet Leigh and June Allyson claim the
distinction of having the most enormous
appetites of any girls in town with Eliza-
beth taking first honors. Steaks and all
the trimmings were the luncheon orders
of the day all through “Little Women.”
With Elizabeth in England, where ra-
tions are short and Janet dieting to fit
into those “Forsyte Saga” costumes, June
is left to eat in peace.

Roaring with Leo: The set was a life-
like gambling den (and why a “den,” we
wonder) replete with red damask walls,
gaming tables, smoke and oddly assorted
customers. The scene on this “Any Num-
ber Can Play” set had just been com-
pleted when a hand reached out for us.
“Come on, I want to talk to you,” a voice
said and, startled, we turned around to

catch the amused grin of Clark Gable.

We relaxed in his comfortable dress-
ing room, chatting of many things. His
new television set is his pride and joy,
he told us. “Have it set up back in the
gun room where it can be seen from any
angle. I can have my dinner on a tray
and never miss a thing. It’s fascinating.”

With no girl in his life at the moment
(and that misunderstanding between
Clark and Iris Bynum looks final), he
plans on leaving for Europe in February,
taking his car and touring as he pleases.

With a promise to see each other be-
fore he leaves, we took off for “The
Midnight Kiss” set, two sound stages
away, where two plaid flanneled arms
swept us inside. It was Keenan Wynn.
“The person I’m looking for,” he ex-
plained. “I was just up to the publicity
department saying if anyone was to
write my marriage story (and Cal knows
there have been a lot of requests) it’s
you.” Cal was flattered but then Keenan
knows his fine sons Ned and Tracy —
who live now with Evie and Van — are
two of our favorite children.

Katharine Grayson and Mario Lanzo,
who turns out to be a neighbor of Cal’s,
were deep in a duet for the picture and
we pass on, as an inside tip now: watch
this Lanzo lad. And don’t say your Uncle
Cal didn’t tell you in advance.

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V'V' (F) The Fan (Twentieth Century-Fox)

IF HE were alive today, Oscar Wilde would
be as pleased as punch over this nosegay
of the Naughty Nineties based on his play,
“Lady Windermere’s Fan.” It’s an elegantly
mounted picture with a first-rate cast and it
preserves Wilde’s wry, sly humor.

Jeanne Crain is enchanting as Lady Win-
dermere, who fears her handsome, wealthy
husband, Richard Greene, has been unfaith-
ful. Madeleine Carroll is delightful as the
beautiful-and-bold Mrs. Erlynne. George
Sanders is excellent as Lord Darlington, a
regular heartbreaker in his day. These four
lend sparkle to a comedy of Victorian times
when indiscretion was the ultimate sin.

Because Jeanne believes her husband
guilty of an affair with Madeleine, whose
real identity is a mystery to her, she is
ready to run off with Sanders. Whereupon
the woman whom Jeanne regarded as her
worst enemy proves to be her best friend.

Your Reviewer Says: A charming period piece.

Nostalgic nosegay: Madeleine Carroll, Richard Greene and
Jeanne Crain add sparkle to a comedy of the Victorian era

From Connecticut to Camelot: Sir Cedric Hardwicke,
Rhonda Fleming, Bill Bendix, Bing cavort in court

BY ELSA

kV (F) A Connecticut Yankee In King
Arthur’s Court (Paramount)

THIS Mark Twain classic presents a remarkably
youthful Bing Crosby in the role of the brave,
bold and bewildered blacksmith who finds himself
in King Arthur’s court in the year 528.

What seems a nightmare turns into a dream when
Bing meets the king’s niece, Rhonda Fleming, a
delectable dish in any age. Trading Connecticut for
Camelot, Bing grabs a seat at the round table.
Unfortunately, the lady is betrothed to Henry
Wilcoxon, a fierce fellow right handy with a lance.
But Bing, the old smoothie, surmounts all obstacles.

Bill Bendix is something to see in armor and a
long bob. As King Arthur, Sir Cedric Hardwicke
sneezes his way through the picture, while Virginia
Field and Murvyn Vye plot to seize the throne.

Your Reviewer Says; Colorful — and darn funny, too.

t^Good kVVery Good
^WOutstanding
F — For the Whole Family
A — For Adults

V (A) Flaxy Martin (Warners)

APPARENTLY, it’s Virginia Mayo’s lot to play dizzy, deceitful
dames. As Flaxy Martin — a knockout on looks but with a
dollar sign where her heart should be — Virginia uses lawyer
Zachary Scott for her selfish ends. With her gangster-sweet-
heart, Douglas Kennedy, she sees to it that Zach takes the rap
for a murder he didn’t commit. It’s Dorothy Malone who steers
Zach back to the old-fashioned virtues. Tom D’Andrea proves a
friend in need; Helen Westcott is a blackmailer.

Up to their ears in squalor and crime, one and all are called
upon to think and act with lightning speed.

Your Reviewer Says: Murder will out.

A military matter: Clark Gable, Walter Pidgeon, Edward
Arnold, Moroni Olsen in an air force drama of distinction

pW (F) Command Decision (M-G-M)

SOME men are born leaders, capable of
making a decision and sticking to it.
Brigadier General Clark Gable is this breed
— a soldier first, last and always. By way of
contrast, Major General Walter Pidgeon is
more a politician than a military man.

These two divide acting honors in a strong
story which points up the problems of the
Big Brass. One problem is outspoken news-
paper correspondent Charles Bickford, far
too inquisitive about aerial operations and
losses to suit Gable. Another, even more
perplexing, is the inopportune visit of Con-
gressman Edward Arnold and his colleagues.
Gable is brusque with Arnold who criticizes
the way the war is going. Whereupon it’s up
to Pidgeon to smooth things over.

Van Johnson is a cynical sergeant. Brian
Donlevy is the man slated to fill Gable’s
shoes and John Hodiak plays a colonel and
close friend of Clark’s.

Your Reviewer Says: It’s dramatic dynamite!

BltANDEN

PW (F) Portrait of Jennie (Selznick)

EVER feel as if you were floating on a fleecy pink
cloud? Well, that’s the effect this nostalgic pic-
ture brings you. It is romance plus, beautifully
acted, directed and produced.

Jennie, played by Jennifer Jones, is an entrancing
creature, half-girl, half-woman. When struggling
artist Joseph Cotten meets her, he cannot forget
her. Encouraged by wise Ethel Barrymore and
kindly Cecil Kellaway, he paints Jennie, captur-
ing her lovely, elusive spirit. Theirs is a strange,
will-o’-the-wisp love affair, for Jennie belongs to
an earlier era. Her visits to Joseph, all too fleeting
and unreal, build the story to a strong climax.

It’s a glowing, dream-spun tale of Young Love.
An outstanding cast includes David Wayne, Albert
Sharpe and Lillian Gish.

Your Reviewer Says: A love story to stir your heart.

Inspiring illusion: Jennifer Jones and Joseph Cotten
in a love story which knows no time boundaries

V (F) The Far Frontier (Republic)

ROY ROGERS discovers a slippery crew of smugglers who
transport criminals from Mexico to the United States.
They’re a bad lot, led by Roy Barcroft and Robert Strange.

Rogers goes into action when his border patrolman friend,
Clayton Moore, is missing. Then things move hot and fast with
hard ridin’ and lots of slugging. His old pals, Andy Devine, Foy
Willing and the Riders of the Purple Sage are around to help
him. And there’s Gail Davis, too, a right cute cowgirl.

Filmed in Trucolor, “The Far Frontier” is a notch or so above
the average Western.

For Complete Casts of Current Pictures See
Page 101.

For Best Pictures of the Month and Best Per-
formances See Page 27.

For Brief Reviews of Current Pictures See Page

Your Reviewer Says: Good deal, pardner!

( Continued on page 24)

Westmore again creates the
beauty color-sensation of the
season. It’s “Rapture Pink,”
vibrant with beauty— fresh
and radiant as Spring! In
lipstick and rouge, with
foundation cream and face
powder to complement.

“ Regardless of Price
You Cannot Buy Better ”

At cosmetic counters everywhere

In U. S. A. and Canada

^ (A) Force of Evil (M-G-M)

THIS movie dealing with killers and
crooks is just about as hard-boiled as
they come. Derived from Ira Wolfert’s
novel, “Tucker’s People,” it exposes the
rotten policy racket that is robbing a
gullible public of its nickels and dimes.

John Garfield is completely convincing
as a product of New York’s slums who
becomes the mouthpiece of “numbers
king” Roy Roberts. Roberts looks and acts
the part of a big-shot gangster. Thomas
Gomez scores as Garfield’s estranged
brother who works the racket on a small
scale, and Howland Chamberlain is effect-
ive as his terrified bookkeeper. In shining
contrast to all this corruption, there’s
Gomez’s dewy-eyed young secretary who
spurns Garfield’s attentions. However,
recognizing decent instincts beneath his
cynical exterior, she is attracted to him.
In this role, newcomer Beatrice Pearson
is very appealing, indeed.

An exciting, fast-moving picture which
reveals crime in a glaringly vicious light.

Your Reviewer Says: Gunplay with Garfield.

VV (F) Bad Boy (Allied Artists)

THIS action drama describes the splendid
work of the Variety Clubs International.
The organization maintains a boys’ farm
at Copperas Cove, Texas, where young
criminals are rehabilitated.

As the “bad boy” of the title, Audie
Murphy certainly makes good in a big
way. Although Murphy appears beyond
redemption, it’s the credo of Lloyd Nolan,
director of the farm, that there are no
hopeless boys — only people who grow
hopeless about them. So he pleads with
Judge Selena Royle to place the boy in
his care rather than send him to reform
school. When she reluctantly agrees, Nolan
is confronted with the biggest problem
of his long, useful career.

While polite enough to Nolan and his
friendly wife, Jane Wyatt, Murphy re-
fuses to buckle down to real work. He is
far from popular with the other boys or
with Nolan’s hard-boiled assistant, James
Gleason, who has to restrain himself from
beating some sense into him.

Your Reviewer Says: Another medal for
Murphy.

V (F) Alias Nick Beal (Paramount)

THE good and bad in man comes to grips
in this drama which obviously was in-
spired by Goethe’s “Faust.” Ray Milland,
suave and sinister, is the devil in human
form.

He is after district attorney Thomas
Mitchell’s soul and, toward that end, uses
every scurvy trick to turn a basically
honest individual into a corrupt political
machine. He even bribes down-and-out
Audrey Totter to cause a rift between
Mitchell and his sympathetic wife, Ger-
aldine Wall.

Farfetched though this is, at times you’ll
give it your undivided attention, wonder-
ing how on earth poor Mitchell will es-
cape the clutches of his crafty adversary.
George Macready plays a man of the
cloth, Fred Clark a crooked politician.

Your Reviewer Says: Devilishly different.

(F) Angel in Exile (Republic)

A PRETTY girl, a fake gold mine and a
minor miracle change John Carroll’s
plans in this rough-and-tumble action
drama with a Western setting.

After a five-year stretch in prison for
manslaughter, Carroll and his partner-in-
crime Art Smith are all set to collect a
gold cache worth a cool million. Tough

guy Barton MacLane and his accomplice
horn in on the deal. They follow Carroll
to an abandoned mine in the mountains
where they force him to cut them in . . .
or else. Although the gold was stolen years
ago, the idea is to pretend it’s just been
discovered. A suspicious government
clerk guesses their little secret and black-
mails them into declaring him a partner.
It’s a question of who will pull the trigger
first and skip off with the loot. Mean-
while, Carroll meets Adele Mara, daugh-
ter of village doctor Thomas Gomez, and
he begins to see things in a new light.

Your Reviewer Says: “All that glitters . . .”

(F) Wake of the Red Witch
(Republic)

AS CAPTAIN of the Red Witch, devil-
may-care John Wayne takes you on a
long sea voyage to faraway places. Strange
adventures befall Wayne and handsome
Gig Young as they first conspire to sink
a ship carrying a fortune in gold and later
return to salvage it.

Crafty shipowner Luther Adler halts
the investigation which follows, and it’s
then Young learns the real motive behind
Wayne’s act. It isn’t greed for gold or
pearls that accounts for the deadly enmity
between Wayne and Adler, it’s a far
greater prize — dark-eyed Gail Russell.
Gail dwells on a South Sea Island, the
niece of French Commissaire Henry
Daniell. Her heart belongs to Wayne but
Fate keeps them apart. It is this unhappy
love affair which has turned the captain
into a relentless brute. In the process of
uncovering Wayne’s colorful past, Young
loses his heart to Luther’s attractive niece,
Adele Mara.

Wayne’s undersea battle with an octo-
pus is a highlight of this long, lusty sea
story based on Garland Roark’s novel.

Your Reviewer Says: Thriller of the deep.

(F) Rose of the Yukon (Republic)

THE white open spaces make an attractive
background for this routine chase pic-
ture. Steve Brodie is the pursuer. William
Wright the hunted. Myrna Dell is the little
lady who shuttles between the two.

An Army deserter, supposedly killed in
action, Wright has struck it rich in Alaska.
When his ex-buddy Brodie spots his pic- i
ture in the paper, he is sent to get him.
Army officials want Wright to reveal what
happened to members of a mission which
never returned. Myrna (who bears more i
than a passing resemblance to Myrna Loy) (
shields Wright until she learns he’s a
murderer and traitor. Then she switches
to Steve’s side. There’s a wild sled chase
over rough Arctic trails with Brodie
taking time out to fight a pack of vicious
dogs. Meanwhile, Myrna softly sings: “It’s
Not the First Love.”

No epic of the North, this; yet it has
moments of interest.

Your Reviewer Soys: Ice-coated crime yarn

V' (F) Tarzan’s Magic Fountain
(RKO)

ANT to take a trip to the jungle with
Tarzan and Jane and their pet chim-
panzee, Cheta? Here’s your chance!

Lex Barker is the boy given to few
words but swift action. Brenda Joyce is
his pretty mate untroubled by clothes
problems. They discover English aviatri*
Evelyn Ankers, lost for twenty years
living in a jungle paradise where on t
never grows old. Naturally, she’s reluctan
to return to civilization until she learn;
that her testimony can free an innocen
( Continued on page 26)

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(FROM A LETTER TO BETTY MEMPHIS SENT HER BY ETHEL JORDAN, DETROIT, MICH.)

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Men never got serious about me.

One date, or two — but nothing more.
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( Continued from page 24)
man back in England. Meanwhile, greedy
Albert Dekker and Charles Drake deter-
mine to find the mysterious Blue Valley
which offers the secret of eternal youth
so they can make their fortunes. Their
opportunity comes when Evelyn and her
Englishman return to the jungle and
plead with Tarzan to guide them to the
magic fountain.

It’s hocus-pocus but it’s also fun, espe-
cially Clxeta making with the bubble gum.

Your Reviewer Says: It’s tree-swinging
time!

^ (F) The Life of Riley
(Universal-International )

THE comic misadventures of an ordinary
guy, whose life is wrapped up in his
family and his factory job, are related
here with noisy gusto.

Big Bill Bendix is the Riley of radio
serial fame, an amiable nitwit liked by
everyone. Everyone, that is, except the
bill collectors, including landlady Beulah
Bondi. Beulah, who lives in the house next
door with her good-looking young nephew,
Richard Long, heartily disapproves when
Richard and Bill’s pretty daughter, Meg
Randall, fall in love. Mark Daniels, son
of Bill’s boss, is after Meg, too, chiefly
because he can only get his hands on a
trust fund on his wedding day. Meg agrees
to marry Mark to solve her father’s
financial problems, neglecting to tell Pop
that she doesn’t love the guy.

James Gleason is Bill’s tough-talking
pal, Rosemary DeCamp his ever loyal
spouse and Bill Goodwin his one-time
rival for the wife’s affections.

Your Reviewer Says: Bendix cuts a few
capers.

P' (F) Cover Up (Nasser-UA)

WfHERE there is a murder, there must
be a motive. However, the only motive
discovered by insurance investigator
Dennis O’Keefe is that his deceased client
— supposedly a “suicide” — was decidedly
unpopular with his fellow-townsmen. Any
one of half a dozen people might have
fired the fatal bullet.

Even Sheriff William Bendix, obviously
reluctant to answer O’Keefe’s questions,
is open to suspicion. Everyone seems to
be covering up but Dennis stubbornly
keeps on snooping. The presence of pretty
Barbara Britton in his life makes every-
thing* worth while. But then her father,
Art Baker, appears to be implicated too.

Since you meet neither killer nor vic-
tim, simply learn about the murder
second hand, you never find yourself at
fever pitch over it. But O’Keefe is so
likeable, it’s a distinct relief when he finds
the answer to his persistent question:
Who did it?

Your Reviewer Says: A passable puzzler.

V (F) Miranda (Rank-Eagle Lion)

MERMAIDS are very much in the movie
news this season. Now Britain sends
us a fantastic fish story with Glynis Johns
as the lovely sea sprite and Griffith Jones
as the married medico who succumbs to
her charms.

Actually “Miranda” is a drawing-room
comedy with its mermaid wearing a mon-
ocle, so to speak. A very cultured young
lady, despite her years in a cave be-
neath the sea, she insists on the doctor
bringing her to London so she may see
Buckingham Palace and attend the opera.
The foolish fellow installs her in his home
and pretends she’s a patient unable to
walk. His wife, Googie Withers, wisely
decides to keep her eyes and ears open.

Soon enough, Miranda — a homebreaker at
heart — proves a most disrupting influence.
Not only the doctor but his young chauf-
feur, David Tomlinson, and artist-friend,
John McCallum, find Miranda irresistible.

Your Reviewer Says: If you’re feeling friv-
olous. . . .

V' (F) A Woman's Secret (RKO)

LOVE and crime make an effective mix-
ture in this movie based on Vicki
Baum’s novel, “Mortgage on Life.”

Lovely Maureen O’Hara gives herself up
to the police after a mysterious shooting
in her apartment. Her singer-protege,
Gloria Grahame, is at death’s door and
cannot be questioned. But Melvyn Doug-
las knows a thing or two about the girls
and he helps police inspector Jay C.
Flippen fit together the missing pieces in
the jigsaw puzzle. Even if Maureen did
shoot Gloria, as she claims, what was it
that made her pull the trigger? Could that
green-eyed monster, Jealousy, have some-
thing to do with it? After all, Douglas is a
mighty attractive guy; trouble is he’s
awfully slow about popping the question,
and you really can’t blame Maureen for
growing impatient. Lawyer Victor Jory
and ex-soldier Bill Williams play their
parts in this life-and-death drama, too.

Your Reviewer Says: Fair suspense story.

^ (A) Knock on Any Door
(Columbia)

TAKEN from Willard Motley’s novel, this
somber study of Youth gone wrong is
lifted out of the class of ordinary gangster
movies by virtue of its fine acting. First,
there’s Humphrey Bogart in the role of a
lawyer, giving one of his compellingly
earnest performances. Then there’s new-
comer John Derek, delivering a noteworthy
portrayal of a young hoodlum who never
had a chance. And Allene Roberts certain-
ly merits mention as a sweet, pathetic kid
who deserves a far better break than the
one she gets here.

Sympathetic social worker Susan Perry
persuades Bogie to take John’s case much
against his will. For the lawyer knows
that the boy has a bad record and might
easily be guilty of the cop-killing charge
against him. Once in the courtroom, how-
ever, Bogart does his utmost to defeat
prosecuting attorney George Macready, a
man who can make his victims really
squirm. For the benefit of the jury, Bogart
describes his client’s sordid background,
and it’s then you learn the whys and
wherefores of Nick Romano’s life on Skid
Row.

Your Reviewer Says: Tense tragedy of a
misspent life.

Best Pictures of the Month

Command Decision
Portrait of Jennie

Best Performances of the Month

Clark Gable, Walter Pidgeon in
"Command Decision’’

Atidie Murphy in "Bad Boy’’

Jennifer Jones, Joseph Cotten in
"Portrait of Jennie”

Humphrey Bogart, John Derek
and Allene Roberts in
"Knock on Any Door”

John Garfield, 'Thomas Gomez
and Beatrice Pearson in
"Force of Evil"

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what should I do?

your problems answered

by Claudette Colbert

OEAR Miss Colbert:

At twenty-nine, I have had seven
years of teaching experience in four
different schools. I am weary of teaching;

I long for marriage and a home.

During the past year I met a college in-
structor with whom I fell deeply in love.
We had everything in common. However,
for several years, he had gone more or less
steadily with “a girl back home.” Her
family had money, position, prestige. He
gave up a promising career in engineering
to go into her father’s business.

I am trying to be realistic. I feel that I
may yet find someone else. I am taking a
secretarial course in hope that such a posi-
tion will enlarge my opportunity of meet-
ing a suitable husband.

However, my moods of depression are
frequent. I am lonely, and often life does
not seem worth the effort. I tell myself
that women in their thirties who have
learned poise, how to dress, etc., are more
attractive than their juniors, but statistics
tell me that the chance of a first marriage
after thirty is remote.

I am grasping for something, tor a phi-
losophy, for an obscure comfort of some
kind. Out of my bewilderment I have come
to you because your column seems, some-
how, “different.”

Edata K.

Claudette Colbert, star
of “Family Honeymoon”

Please don't consider my initial bit of
advice to be a swift descent from the sub-
lime to the ridiculous. I mean it in all
sincerity. You should go to a competent
physician for a complete physicial check-
up. Sometimes a low state of mind, par-
ticularly following an emotional defeat,
is caused by a thyroid deficiency. It s
worth finding out about.

Next, despite your reticence on the
subject. I imagine that you were terribly
hurt by the unfortunate termination of
rour love affair. You know, of course,
that a man who would choose material
gain above the less obvious advantages of
true emotional compatibility, is not worth
grieving over. You know it, but the hurt
remains. Only time will take that away.

The thing to do is to discover your own
talent. Everyone has a talent of some
sort. It may be for baking the world s
best cookies, or for playing the piano well
enough to entertain your friends, or for
clay modeling. It may be for photogra-
phy writing children’s stories, painting,
or rebuilding furniture. Discover what
your hidden talent is, then develop it.

Never forget that the Duchess of It ind-
sor teas forty when she married and that
Elsie de Wolfe teas seventy when she be-
came the wife of Sir Charles Mendl. Both
were unusual women, granted. 1 hen be
an unusual woman yourself.

Claudette Colbert

Eventually, this man asked me for a date.
He took me out to dinner and to a theater.
He was a gay, witty, perfect companion.

But the next day in the office he behaved
as if he had never met me before in his life.

I kidded around for a few minutes, then,
suffering from frostbite, beat it back to my
own department.

A few nights later he called for a week-
end date. A gang were going up to a ski
lodge; his mother and father were our
chaperones. We had a wonderful time, but
the same thing happened in the office after-
ward. He wouldn’t even give me a smile.

I can’t figure him out. I suppose I have
had six or eight dates with him now but
there’s nothing in his attitude at business
to indicate whether he even knows I exist. ;

Vera S. |

From the beginning of time, men have
had to departmentalize their lives. This
man is wise enough to know that in busi-
ness hours a man must behave in a busi-
nesslike manner. If you want to retain
his friendship and earn, perhaps, his love,
you should meet his behavior with a
matching conduct. When he is formal, j
you should be formal. If he unbends a
little, you might unbend, but not quite as
much as he has. Out on a date you know
how to behave, without any coaching
from me, I’m sure.

Every girl in business should make a
hard and fast rule for herself: Formality |
is the only sensible business practice.

Claudette Colbert

Dear Miss Colbert: . .

Because the company for which I work
is a very large one, I have met a number of
eligible men, but I like one in particular
very much. VJe don t work in the same de-
partment, but our jobs are such that we
see one another at least twice a day.

Dear Miss Colbert: _

I am twenty-one years old; my husband
is twenty-two. We have been married for
three years.

My husband says he loves me, and 1
know for a fact that he has nothing to do
with other women. But he just can’t stay
away from his boy friends when they get
together at bars, at bowling alleys, on
hunting trips, or just driving around on
Saturday nights.

This past week he finally told me he was
leaving. He wants to go home to live, be-
cause he does not want the responsibility
of taking care of a home, a wife, and i
child. He says it is so much more expen-
sive than he thought it would be, that ht
can’t be married and have any fun. I an
going to have to get a job and support oui
bov while my mother takes care of him.

Here is what I can’t understand: M;
husband says that he still loves me and hi
is not interested in any other girl. Hi
wants to be able to telephone me occasion
ally and take me out on dates, but he jus
doesn’t want to be tied down.

Cathy J.

Three years ago. when you were eight
een and your husband was nineteen, yoi
were simply too young to marry. Thou
sands of girls rush into marriage with i

boy under twenty- five, and learn later
that the boy has no intention of settling
down. But by that time there is a child
whose entire future may be jeopardized.

Go to the public defender in your
town or to a judge and have legal papers
drawn to compel your husbaand to aid
in the support of his son. Because you
are young, you will probably marry
again. Next time, be certain you pick out
a man, not a spoiled adolescent.

Claudette Colbert

Dear Miss Colbert:

I am a boy of fifteen. I will graduate
from high school in 1950. After that my
mother plans to send me to a local business
school so I can get enough training to
handle the business end of our electrical
appliance store.

How may I politely but firmly tell my
family that I don’t want to work in the
store. If I should make a mistake in an-
other job, I could forget it when I got
home, but my family brings the store home
with them and discusses the customers,
the merchandise, the competitors. The
store lives with us twenty-four hours a
day. My father and my mother are gone
all day, so I do all the dishes, clean the
house, do the washing and marketing.

In the evening I would like to spin a few
discs in my own room, but when I start to
leave, my mother says, “Don’t you like my
company?” So I sit there all evening while
she lies on the couch and sleeps. My
mother dislikes all of my friends and says
friends take a person away from the home.
I hope you can see why I would rather
not work in the family store.

Ike L.

At present, your mother’s possessive-
ness is manifested only in her plans for
controlling your economic future, in de-
priving you of friends, and in keeping
you at her side. It may be that you play
your phonograph so loudly that it keeps
her awake and that is why she keeps you
away from musical recreation. However,
I suspect that it isn’t only her love of si-
lence which inspires her behavior.

Occasionally, you should go to your
room and remain there, doing as you
like. If your mother questions you, tell
her fondly, “ You’re the best mother in
the world, but I have my oivn interests.

I know you’ll excuse me.”

Presumably, you will have to take busi-
ness training and go into the family store,
at least until you are twenty-one. By that
time you will have a means of earning
j your living and you will be of age. Then,
if you wish, strike out for yourself.

Claudette Colbert

Have you a problem which
seems to have no solution?
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Claudette Colled?

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CENTURY-FOX

Directed by LLU I U UnUUIl Produced by II ilL I Lit llIU

Screen Play by Mary Loos and Richard Sale • Based on a Story by Raphael Blau

WHAT

NOW

ITCHUM?

FLORABEL MUIR

After serving his sentence Bob faces another judge — his pub-
lic. Here are a few things you couldn’t know — and should

ROBERT MITCHUM paid the debt he owed the Motion
Picture Industry for giving him his chance to become
a successful screen actor when he agreed to the ar-
rangements whereby he pleaded guilty to a charge of
conspiracy to violate California’s narcotics law. When
he went into the Los Angeles Superior Court with his
high-priced attorney, Jerry Giesler, for trial on a grand
jury indictment Jan. 10, he sat back and didn’t offer
one shred of testimony to clear himself. Thus the
movie business was spared a session of front-page
headlines all over the world which would have lasted
from two to three weeks. With the panic on in
Hollywood, these headlines might have made mat-
ters worse.

I do not know another actor in Hollywood who
would have accepted this sort of deal. He now
has a dope conviction on his record and what
that will mean to him, his wife and their two
children in the future is hard to predict.

Of course, he might have been found guilty
anyway, if the case had been strung out with
a jury trial running into many days in court,
but judging from Giesler’s past perfor-
mances as a criminal lawyer, Mitchum
stood just as good a chance of being
acquitted as Errol Flynn, also defended
by Giesler, had in the charge of statu-
tory rape a few years ago. That case had
the world agog for months and a repeti-
tion of such a three-ringed circus was
abhorrent to the studio heads.

There are many people who have
firmly believed that Mitchum would
get out of ( Continued on page 98)

Bob’s decision put a blot on his record
saved Hollywood front-page headlines

THE D REAM

A widow from upstate New York has won
readers tried to make their home.

THE contest is over. The Photo-
play Dream House has found its
owner. But never was there such
excitement! More than a quarter
million of you readers tried to make
the Dream House your home! Each
day thousands of entries flooded in
— all proving, again, that nothing
means more to Americans than a
home to live in. For frantic weeks,
the panels of judges weighed the
entries. Then, having no idea of the
name, age or sex of the contestant,
they picked the winner — Mrs. Vir-
ginia MacAllister. And, if you have
the slightest feeling of disappoint-
ment at not being the lucky one,
you will lose it when you read Mrs.
MacAllister’s story. Because, for her,
the Dream House is even more than
a dream come true — it means that
for her, life begins all over again.

She stood open-mouthed in the
living room of her parents’ home in
Warrensburg, a tiny town in upstate
New York, when they told her. Her
eyes filled, her head shook as if to
say “No,” her face reflected all the
conflicting emotions from fear that
it was a mistake, a terrible, prac-
tical joke, to the unbelievable, un-
speakable hope that it might be true.

That morning, she had been ski-
ing near the house with her four-
and-a-half-year-old son when the
bearers of the good news arrived.
Paul W. Watson of the National Re-
tail Lumber Dealers Association,
sponsors of the Industry Engineered
Home, wanted especially to talk to
Mrs. MacAllister. It was his job to
help find the plot of land where she
would want her Dream House to
come true. But she could not tell
him right away. She kept staring

The winner, Mrs. Virginia MacAllister, and son Rusty—
“big enough to be the man in their new dream home”

BY MICHAEL MAURY

HOUSE WINNER

the Photoplay Dream House that over a quarter of a million
To those who have lost we give — her story

from face to face, still unbelieving.
Then she sat down and said:

“I’m in a state of coma. I’ve got
to catch my breath.” She looked up
again. lfIs it true, really true? All
this is really true and I’m not
dreaming?”

This was the best part of the con-
test— everybody nodded happily.

Mrs. MacAllister spoke as if in a
dream. “I’d like,” she started to say
slowly. And then, she asked quick-
ly: “Can I pick out my own lo-
cation?”

Everybody nodded again.

She hugged her blond, tousle-
headed boy close to her. Before she
could continue, Rusty announced,
“I’m big for my age. I’m going to
take after my father. He was very
tall.” His mother’s eyes filled with
tears again.

“I’d like,” she said, still slowly,
“a place, any place near the school
in Warrensburg, right in the town.
I love the town. It was my husband’s
last request. A few hours before
he died, he asked that I bring up
Rusty in Warrensburg. I know that
there are many wonderful towns
and many wonderful people. But
Warrensburg is — well, it’s special.

“And I want our home to be near
the school so that hundreds, hun-
dreds of children, will pass us on
their way to and from school, and
I’ll entice some of them in to play
with Rusty.”

She held the boy tighter. She
looked at everybody and the words
seemed to have trouble coming out:

“Oh, do you know what this
means? I’m going to be able to have
a life of my own — with Rusty — after
all these ( Continued on page 74)

Taken to the Union-
Fern Furniture store
in Glens Falls for a
peek at some of the
Dream House furni-
ture, Virginia had to
try out the Simmons
Beauty mattress in
the Mengel bedroom

■mmm

Until now Virginia and
Rusty have lived with
her mother, Mrs. J. B.
Bleecker (right) and
dad. “They’re wonderful
— but for Rusty I want-
ed a home of our own”

Lawrence Griffin, head of
the lumber company that
will build Virginia’s
dream house, shows her
the blueprint and points
out some of the insula-
tion material that will be
installed in her new home

Revealing wedding plans, the new world Rita will know as Aly’s

BY ELSA

The civil ceremony will be held in

OW, Rita Hayworth will be the
Princess of the Aly Khan. For
what seemed, at first, to be
merely an excitement of the heart,
has turned out to be an interna-
tional love story.

“You must come over for our
wedding,” Pi'ince Aly told me during
an overseas telephone call. “What
you started, when you introduced
us, Elsa, you must finish.

“We’re having a civil ceremony
first, here at the chateau d’ l’Horizon.
Then we will go to the Mosque at
Nice and be married a second time.”

“Which means, I suppose,” said I,
“that in about fifteen years I will be
assisting at the wedding of Miss
Rebecca Welles and your youngest
son, Amyon.”

Aly, laughing, gave the phone to
Rita who had, all the while, been
clamoring for it. The joy in her
voice, too, leapt across three thou-
sand miles of ocean.

“We love you, Elsa,” said Rita,
“and know what a friend you were
during those horrible weeks before

princess and her movie plans for the future

MAXWELL

Prince Aly’s villa in Cannes, L’liorizon

we could make any announcement.”

“People did not understand,” I
said, “that Aly, heir to the greatest
fortune in the world and successor
to his father as virtually the Ma-
homet to eighty million Ismaili
Moslems, could not possibly an-
nounce his plan to marry until you
and his father had met and he had
given his approval.

“Tell me,” I added, “were you
nervous when you went to meet the
Aga?”

Rita laughed. “Nervous! My heart
was in my mouth for fear I would
not please him. But he was so kind
and charming, I was at once at ease.
No one, Elsa, could have welcomed
me more warmly into his family!”

All of this did not surprise me.
The Aga Khan has always been most
wise and human. Besides, he has
long known — as I have — of the ar-
rangement between Prince Aly and
his wife, Joan. They have been
separated for years. Prince Aly
preferred to remain technically
married, as ( Continued on page 70)

“Rita’s so wonderful on the screen,” said Aly, “I’d be the last to interfere”

BY WYNN ROBERTS

THF

1 Jtl 1U

Scoop! Reporting the life history of
Monty, the most talked-about
and — until now — least known
man in Hollywood

IF you have any preconceived ideas of
Montgomery Clift, forget them. He
bears no resemblance to anybody you’ve
ever heard of. He fits no mold, belongs
in no pigeonhole. He is the weirdest, most
unusual character in a city which teems
with unusual characters.

To write about him is like trying to
describe a biological specimen of which
there is only one in the entire world. You
have to struggle to find standards of com-
parison. For example, Monty can remind
you a little bit of Gregory Peck. And for
those who remember, he can remind you
of Sterling Hayden. You can even get a
slight impression of Danny Kaye

But all these resemblances are gauze-
like, tenuous because Clift is unique.
Nobody can put a finger on him. Take
his twin sister. What does she know
about him — really know about him? They
grew up together. They were close — twins.
She knows a few facts and that his first
name is Montgomery and why. But not
much else. Now, that’s no reflection on
Mrs. Ruth McGinnis. It just proves that
all the Clifts have a great reserve and,
again, that fits no pattern. Nobody really
knows what makes up Monty — not even
Monty. ( Continued on page 38)

THE CLIFT STORV

Monty learned much about acting from Alfred Lunt, Lynn Fontanne, when
he was in “There Shall Be No Night.” This role brought film bids

More than anything else in this
world, he wants to be an actor. He
wants to be an actor like Laurence
Olivier. The talent, the drive, the
ability to close out the unimportant
trivia of the world are there. And
also, this young man is an individ-
ualist. That may be part of his
charm in a world where the indi-
vidual has been pushed around
quite a lot lately.

If you begin tracing Hollywood’s
Mystery Man back, you find a lot of
interesting bits and pieces. Grad-
ually, if you put them very carefully
together and let your imagination
work, you may emerge with a full
portrait which is worth the trouble.

He made a dramatic entrance into
this world on October 17, 1920. He
was a dividend, an extra unexpected
gift for his parents. Mr. and Mrs.
William Brooks Clift had one son —
William Jr. — and they were hoping
for a daughter. They got the daugh-
ter, Ruth, now Mrs. Robert C. Mc-
Ginnis, and ( Continued on page 104)

Family tintype of a star-studded cast: Tallulah Bank-
head, Florence Eldridge, Fredric March, Frances
Heflin and Monty in 1942 in “Skin of Our Teejh”

“He was intense and imaginative on stage — quiet and re-
served in a group,” says Mari Stewart, Monty’s co-star in
“You Touched Me,” his last play before he made “Red River”

His love life has everyone guessing. He won’t
discuss his dates. Even his best pals don’t
know if there’s ever been anyone “special”

Monty has worn the same slacks and old jacket for years. He
buys suits from the best tailors, then gives them away to friends

Monty s long lean frame is deceptive. He’s built himself up by
hard labor and fast riding. He’s won medals for skiing and once
in Cuba he put a “Superman” to shame in a swimming contest

Martha Vickers chooses a gray dressmaker wool coat for
her Wilshire Boulevard appearance. With it she’ll wear
a navy and white straw hat and navy kid shoes and bag

Jean Peters pauses in MacArthur Park for preview of
her Easter costume — a green suit, natural straw bonnet
trimmed with eyelet embroidery and green ribbon

1 /

fmm

i iattenA ami

owd

For Sunday-go-to-meeting at Westwood Methodist Church,
Colleen Townsend will step out in this navy blue crepe dress.
And for Easter perfection, a pink flowered hat, pink gloves

For spring sunshine Yvonne De Carlo will wear a
pink gabardine suit, hat of pink straw, tulle and
roses. And for sudden showers — an English umbrella

I T’S Wilshire Boulevard, beautiful with shops and
churches, that will be the background for
Hollywood’s Easter Parade. There, you will see
Joan Bennett and her daughters, Stephanie and
Melinda on their way to church. Joan will wear a
dressmaker suit of gray-blue shantung and the
girls will wear identical short-sleeved dresses of
the same material. All three will wear natural
straw bonnets trimmed with brightly colored field
flowers. Right after service, they’ll be rushing to
Easter brunch at the Wangers’ — a gracious spot in
Holmby Hills. Diana, Joan’s eldest, will be there,
too, with her husband, John Anderson.

On Wilshire you’ll see Loretta Young and her
happy brood, the shining, scrubbed faces of the
Crosbys, and, undoubtedly ( Continued on page 87)

Photographs by Don Ornitz

A promenade on the Palisades with Pete Lawford and
a chance for Audrey Totter to preview her gray
Irene suit, blue flowered hat by Keneth Hopkins

those

screwy

romances

BY SHEILAH GRAHAM

Just old friends, according to Ann Sothern. Pinning Clark
Gable down to the proposal point keeps Hollywood ladies busy

It could be love when Janet Leigh’s with Danny
Scholl — except for those coast-to-coast phone calls

“Now’s the time to fall
in love,” sang Jane Powell
when she first met fiance
Geary Steffen — and broke
an old promise to her mother

She’s a level-headed lady about love but it isn’t Howard
Duff who measures up to Ava Gardner’s spring specifications

Whether Jimmy Stewart gets softening of the heart this
spring depends on how smart Gloria McLean can be!

‘fl(

lOR LO! the winter is past, the rain is over and
1 gone; the flowers appear on the earth; the time
of the singing of the birds is come and the voice
of the turtle is heard in our land.”

The song of the turtledove is loudest, apparently,
in that little strip of western land called Hollywood.
Romantic fever there has reached such epidemic
proportions that even Cupid is reported to be slight-
ly dizzy with his arrows going in the wildest direc-
tions.

Farley Granger, for one, has been affected by the
confusion. “I’m going to be married soon,” Farley
tells me between takes in his picture “Roseanna
McCoy.” “Who to?” I ask him, forgetting the gram-
mar in the excitement of getting a scoop.

“I’m not sure,” says Farley, registering the real
McCoy in indecision. So I try to help him out.

“To Geraldine Brooks?” Farley’s dark brown eyes
blur dreamily. ( Continued on page 112)

It’s springtime in Hollywood,

with everybody playing a
game that has Cupid running

around in the best cinema circles

Farley Granger hears wedding bells — but whether it’s
Shelley Winters or a few other girls — not even he knows

Don Ornitz

' . , " 1 • — ■»!

In make-believe mood:

Little Liza Minnelli makes
her screen debut with her
mother, Judy Garland, in “In
the Good Old Summertime”

4pfn-r

FRANKLY, Hollywood lifted an eyebrow when
Judy Garland and Vincente Minnelli permitted
their three-year-old Liza to emote in several
scenes with Judy in “In the Good Old Summer-
time.”

How come? — the gossips wanted to know.

Had Judy found such health and happiness in
her own career that she wanted her daughter to
be another child prodigy, as she had been? How
about all the talk that Judy’s debut on the stage
at the age of three had been largely responsible
for much of her ill health and her highly nervous
condition these past few years? Some of them
said, “You would think she, of all people, would
want her child to lead a protected ‘normal’ life far
from the nerve-wracking spotlight.”

And I can’t say that some of the chatter didn’t
make sense. Several times during the past year I
had had to report that this girl, of whom I am

really fond, was perilously close to a nervous
breakdown. She has lost a great deal of weight
in the past few years. Because of illness, she had
to cancel out of “The Barkleys of Broadway,” a
picture she had her heart set on making with Fred
Astaire.

If she had been dead set against her daughter
ever facing an orchestra or a movie camera, I
should have been not in the least surprised.

It was a subject I wanted very much to discuss
with Judy but I hadn’t expected that the oppor-
tunity would first present itself at a very gay party
given by a mutual friend with much celebrating
and clatter all around us.

As the festivities reached the peak with a loud
orchestra jiving and jumping, I suddenly found
myself standing side by side with Judy who looked
very lovely in her formal evening gown, wearing
but absolutely every ( Continued on page 77)

They play croquet with English mallets.
Guest, left, is Kurt Frings, Olivia’s agent

The

GOODRICH
GOOD LIFT

No echoes from “The Snakepit”
disturb the peaceful setting where

Kitty’s a Siamese cat named Katherine — with a penchant
Olivia de Havillaud acts out her daily life for parking anywhere! Olivia doesn’t mind — she’s busy

trying to find a good story to follow “The Heiress’’

New home of the Goodriches is in Brentwood, not far from the sea.
Olivia and Marcus spend much time outdoors, reading, entertaining.
Frequent guests and croquet partners are the Darryl Zanucks

No longer the restless girl of yesterday, Olivia
has found happiness in marriage and her career

Olivia gets the air from Shadrack the Airedale,
who has his own doggy ideas about the part
a pet should play in the family fun outdoors
Photographs by Ann McNamara

Raising the curtain on the activity, drama and suspense that precede

Always, before the Awards, gossip is at fever pitch as
Hollywood locals pick their favorites. This year, be-
cause odds usually seem to favor veteran actors . . .

Laurence Olivier, left, is gossip’s choice for his
Nudging Olivier in Hollywood betting is Clifton Webb, above,
for “Sitting Pretty,’’ although usually comedy roles don’t rate

Because historical drama always has had an advan-
tage in Award finals, there are predictions that “Ham-
let’’ will walk off with the Oscar for the best picture

CRE are many myths about Hollywood’s great-
est lover. But inside the film capital, only one
name is forever breathed with a sigh: Oscar.

This year, on March 24th, when the Academy of
Motion Picture Arts and Sciences makes its annual
awards, Oscar will be celebrating his twenty-first
birthday. For it was in 1928 that the Academy’s
Governors decided to establish some intramural
form of recognition — since to be designated “an
actor’s actor” is the highest praise to which an actor
can aspire.

To join the Academy, which at present has about
2000 members who pay individual dues of $46 a year,
one must be directly employed or associated with
some motion picture activity.

Because ol her fane performance in “The Snakepit,” Olivia
de Havilland is a hot gossip nominee for the leading lady
Oscar. However, some claim it will eo to Jane Wyman. . . .

for her role , in “Johnny Belinda” — because Holly-
wood is sentimental when it comes to Awards and Jane
lost when she was nominated for “The Yearling”

Oscars now are given as Awards of Merit for
twenty-three achievements.

There are special awards, too, for outstanding
achievements not strictly within the regular cate-
gories. These are decided by the Governors at
midnight on the eve of the Academy Awards.

The established awards are conferred by a system
of nominations and elections. Every January 20th,
nominating ballots are mailed to everyone entitled
to vote. This group, in each instance, is different.
Roughly, it consists of all Academy members plus
certain accredited members of the group which par-
ticipates in that particular award. For instance, the
nominees for the acting awards are nominated by
the Academy acting branch members and all mem-

Just as many Hollywood rumors claim “Joan of Arc,”
another historical drama, will win for 1948. Some
predict Ingrid Bergman will win an Oscar, too

Janet Gaynor was first actress to re-
ceive the Award for her role with Chas.
Farrell in ’27’s “Seventh Heaven”

THE SOT OF THE

bers in good standing in certain
classes of the Screen Actors Guild.
Each person receiving a ballot may
list five names. From these nomina-
tions— which must be in by January
25th — the high five persons are placed
upon the official ballot. Official ballots,
mailed on March 1st to Academy
members only, must be in by March
15th.

All votes cast in the nominating, as
well as the official ballots, are counted
by a firm of public accountants. And
the slips of paper which bear the
names of the winners are sealed in
individual envelopes which are un-
opened until they are delivered into
the hands of the person who is mak-
ing the Award before the audience.

. . . next year, Olivia de Havilland, win-
ner for “To Each His Own,” snubbed
her. sister Joan Fontaine. Also ...

In ’28 Cedric Gibbons sketched
an idea on an odd slip of paper
— and the Statuette was born !

Then Mrs. Margaret Herrick, Academy
librarian, saw the Statuette, said,
“He reminds me of my Uncle Oscar”

Jack Warner presented Fay Bainter,
Bette Davis with best supporting, best
actress Oscars for 1938’s “Jezebel”

’44 Irving Thalberg Award went again
to ’37 winner Darryl Zanuck, here
with Thalbergls widow Norma Shearer

Dramatic moments: Joan Crawford, too-
ill to attend, received ’45 Award at
home from Producer Mike Curtiz . . .

President of the Academy of
Motion Picture Arts and Scien-
ces, screen actor Jean Hersholt

This, the year of the first Awards, was
only time two films won — “Wings,”
with Buddy Rogers and Clara Bow . . .

Emil Jannings, top character actor,
won first male Award for his per-
formance in “The Way of All Flesh”

. . . and “Sunrise” with another
fine performance by Janet Gay-
nor, costarred with George O’Brien

Now and then, however, there is a
leak. Like the night a Master of Cere-
monies said to a technician, who had
just accepted an Oscar, “How on earth
did you happen to be here tonight?”
Blurted the technician, “The studio
phoned this afternoon and told me to
get down here tonight to accept my
Award.”

The gasp that arose from the au-
dience would have lifted the Empire
State Building off its foundations.

So, on the evening of March 24th,
it is safe to predict, no matter who
wins, there will be plenty of drama,
humor, miscues . . . and good old-
fashioned gasps to keep the twenty-
first Annual Academy Awards func-
tion a memorable occasion.

. . . Roz Russell’s fine sportsmanship
when she lost to surprise ’47 winner
Loretta Young (“Farmer’s Daughter”)

Walt Disney received eight ’37 Oscars
for “Snow White and Seven Dwarfs”
from ’34 special winner, Shirley Temple

When favorite Academy Emcee Bob
Hope cracked he never got an Oscar,
’40 Board awarded him a special prize

Harold Russell received two ’46
Oscars for “Best Years” — one
supporting, one special Award

This year there’s a hue and cry because
Awards will be made from Academy’s
own Theater, which seats only 950

Almost 5' 9", she’s sure she’s grown taller in past five years

BY JOSEPH HENRY STEELE

SHE once spent eight hours watch-
ing her husband perform a diffi-
cult brain operation.

She would like to be interviewed
on the subject of tall women.

She is very fond of champagne,
snow and exotic music, and she once
declined to pose for a statue of Joan
of Arc to be placed on the facade
of a Philadelphia church because
she felt “it was not fitting that an
actress should be used for such a
religious purpose.”

Her legal name 'is Ingrid Bergman
Lindstrom.

She has never had a chauffeur and
extols grown-up fans who are con-
siderate enough not to intrude upon
her in public.

She is an avid drinker of black
coffee and she is certain that she
has grown taller in the past five
years. She is now almost five-feet-
nine-inches tall.

She dislikes short sleeves.

She hates “pokey” people.

She does not believe in fortune-
tellers and has never endorsed a
commercial product. She cannot en-
dure studio hairdressers who are
constantly fussing with her hair.

She is a wonderful audience for a
joke but she is unable to remember
or tell one.

She was an only child.

Ingrid Bergman is congenitally in-
capable of loafing; her idea of a
vacation is ( Continued on page 90)

She doles on champagne, snow

and exotic music. Dislikes hats,

S' . v " .

budgets and raw onions. Dances di«

vinely, diets strenuously. Her director

Loves a joke but don’t ask her to repeat it!

her “Angel” — her public, Ingrid Bergman

Photographs by Valeska

She wears a gold replica of
the ring she wore as Joan of Arc

Drives like a man, looks as fresh at
six p.m. as she does at nine in the morning

; - ,'°v V- '

■ :

Sentimental step: Woven into this
rug are memories — of Don’s father

Meet the DeFores, who looked at a pump and saw a lamp, stared at a sewing ma-
chine and saw a plant stand and finished up with a home full of ideas for you

The DeFores picked out every stone in their
fireplace for shape and color, made mantel-
piece lamps out of jugs they had once used.
Don’s latest picture is “Too Late for Tears”

BY RUTH WATERBURY

VER the door to the den in the
Don DeFore house, a copper
plaque, nailed up close to the
ceiling, reads: “May love and under-
standing reign in this house forever.”

•That’s the kind of a house the
DeFore home has become, one
warmed with romance and humor. On the out-
side, it’s a rambling, two-story, red clapboard
bam of a house with white trim against its
red sides. There’s a split-rail fence catty-
cornering its way around a considerable piece
of property. Don put the fence up. At the back
of the lawn, which the living-room windows,
overlook, there are several brick walls, to
restrain the easy gradings. Don put up the
walls. In an era, in Southern California at least,
when houses cost from twelve to seventeen
dollars a square foot, the DeFores put their
house up for less than half that amount. In
the interior department, where many a Holly-
wood house shows a bill of from $25,000 to
$100,000 paid to some decorator, the DeFores
have delightfully furnished a ten-room house
for considerably less.

Their problem, in ( Continued on page 116)

Finding a use for every old thing gave the De-
Fores’ home ah appeal money can’t' buy — and
preserved family treasures for their children

The kitchen-dining room blends charm and convenience. Cor-
ner plate shelves hold memories of the DeFores’ courting days

Wray

was there

BY HYMIE FINK

YOU never can tell when you’ll get a scoop. Not
long ago, I was minding my own business, window
shopping in Beverly Hills. The dresses in
Evelyn McGarty’s shop for children caught my eye. I was
thinking how they’d look on my small
daughter Joan, named for Joan Crawford, when out the
door rushed Joan Crawford herself.

“Hi, Hymie,” she called.

“Easter shopping for the kids?”

She shook her head. “I’ve had their dresses for weeks and
they’re so adorable that I’ve been urging Miss McGarty
to make an identical one for me.”

“That I would like to see,” I said.

“You mean, Hymie, that you would like to see through your
camera,” Joan grinned. “Tell you what — I’ll call you as soon
as my dress is ready and we’ll set a date.”

A few days later, when I arrived at Joan’s Brentwood
house, Christina, already dressed, was helping Joan ,

get the younger children ready.

“Cynthia,” Joan told me, “is very much like a boy.

I have to dress her last or her hair and dress would be a
sight by the time the other children were ready.

Cathy’s different. Put a new dress on Cathy and she’ll sit
quietly for hours.”

Christopher came in, wearing his new suit,
and looking very spic and span. “Christopher’s my
little ever loving,” said Joan. “He doesn’t care what he wears —
although his preference runs to cowboy outfits or firemen suits.”

It was a day to remember — mighty like
the rush hour at Grand Central Station. Even the
dog — who Joan says is the biggest ham in the family —
tried to get into the act.

Joan’s bine heaven: Christina,
Christopher, Cynthia and Cathy
Joan’s in “Flamingo Road”

Fink

1931: Betty signed 1932: Appeared as Frances

her first contract Dean — for one picture

1936:- Minor roles at RKO
but no dancing then

1937 : Paramount fea-
tured 'her in co-ed parts

Beautiful blonde

from

Calabasas Baneh

That’s Betti-james, who

fixes the electric wiring, romps

around with the kids-

and gets a little sentimental

over all the things

that Harry hoards

1941 : Leading as nation’s
favorite pin-up girl

1942: When George Raft
was the man in Betty’s life

1943: But on July 5 she
married Harry James

1940: Hollywood

again and stardom

1937: Wed to Jackie Coo-
gan after 2-year romance

1938: Cross country person-
al appearances with Jackie

1939: In January they sep-
arated, divorced in October

(5 over rl

HERB

HOWE

WORD got around, somehow, that in Betty
Grable’s next picture, only one of her mil-
lion dollar legs would be shown, in a slit
skirt. This is in line with the economy wave,
no doubt.

But even though the movie niggards sewed
up the slit, male voices would continue to rise
in their mating chant:

“I want a girl just like the girl that married
Harry James.”

Of all the females who have sugared this
earth since Eden went into production, the
one viewed by the most men, and listened to
voluntarily, is Mrs. Harry James, nee Eliza-
beth Ruth Grable.

Her appeal is boundless. It embraces all

climes, races and cuisines. Cannibals on New
Guinea unanimously chose her the girl they
would most like to have for lunch, according
to a visiting GI who took their poll a’nd missed
their pot.

She is as tasty on the hoof as on the screen.
Her eyes, which set one cannibal to humming
“My Blue Heaven,” are leveled on yours as
she talks, with the fluent candor of a self-
possessed lady knowing her own mind.

Her hands are dimpled, pink-palmed and
infant size, but when she clasps yours, you
recollect that she descends from Daniel Boone.
The clasp is firm.

You also recollect that back in St. Louis,
where she was bom ( Continued on page 92)

1944: Box-office leader,
she became a mother

1948: A popular star,
with two daughters now

Betty has all ^she wanted — marriage and a career

Guy, welcoming Rhonda Fleming, keeps
his parties small — about six — and informal

Fun, if you can do it! Guy and his guests,
the Rory Calhouns, Adrian Booth, Dave
Brian, Rhonda, try the clothespin game

W"TI

H ■

ISHERMANS

BY KAY MULVEY

THIS is a fish story— but it’s not about “the one that got away.”
It’s about how to use your catch as an excuse for a party.

Whether you angle for trout, bottom fish for flounder or dive
for abalone, as Guy Madison does, any good cook book will give
you a dozen recipes that will turn your catch into a fisherman’s
feast. And if you live far from stream, sea or river, you still can
have a party like Guy’s by remote control. (Your neighborhood
dealer will have a large variety of fresh, canned or frozen fish —
including abalone — from which you can choose.)

Guy, a rugged individual and expert swimmer, went diving for
his abalone — not an easy thing to do since it involves prying the
abalone loose with a flat iron bar from rocks deep in the sea.

The size of your house, Guy insists, is not important. He lives in
a tiny place where everything but the kitchen and bath are in the
same room. However, since his apartment is L shaped, there is room
for a tiny bar, a king-sized bed and dining area. Guy keeps his
invitation list down to six people and serves in a sit-down manner.
He hates people roaming around with food and also prefers to do
his cooking alone — adhering to the motto: “Too many cooks spoil
the fish.”

Since Guy would let no one in the kitchen, the usual Hollywood
practice of discussing careers held the center of conversation. Rory
Calhoun, his bride Lita Baron, Rhonda Fleming, Dave Brian and
Adrian Booth were Guy’s dinner guests. And the spotlight was on
Dave Brian who answered questions as to how it felt to land in the
glamour town and immediately play opposite Joan Crawford.

“I was scared to death at first,” the tall, husky newcomer ad-
mitted. “The first morning that I knew I was really in was when
Joan asked me to come to her portable dressing room for coffee.
And from then on, it was often a very pleasant ritual. She even
told me how to steal scenes from her! Her ( Continued on page 91)

Guy keeps his menus down to one course — but guests don’t grouch when
it’s abalone steaks fried in butter, topped with Guy’s famous salad!

When Guy Madison baits his
invitations with a sup-
per like this it’s no wonder
his guests keep angling for
more of the same!

No room for fancies but who
wants dessert when there’s
still salad left in the bowl

Gail Russell came in on way
home from studio, make-up
and all. She was too tired to
join them in a game of quoits

Men at work : Dishwashing time is the
time, Rory discovered, when guests
are welcome in Guy’s small kitchen

13y Joan Fontaine

As told to Gladys Hall

Deborah Leslie Dozier won’t be a shel-
tered baby, says her mother. Joan’s
latest picture is “You Gotta Stay Happy”

Foes (Deborah

THE day after my daughter, Debo-
rah Leslie Dozier, was born, so
exactly her father’s image that
people ask me, “Tell me, who is the
mother?” Jimmy Stewart sent her
flowers. Beautiful ones. White ones.
On the card attached, he wrote,
“When can I have my first date?”

I called Jimmy on the phone to
thank him. And I chided him about
what I dubbed his “simple declara-
tive proposal.”

“But even if you, the persistent
bachelor, do persist in waiting for
Deborah,” I said, “whether you be-
come her husband or wait in vain
will be strictly up to Deborah since,
when she grows up, every decision
to be made, in every department of
her life, she, and none other, will
make.”

All in fun, of course, but I meant
what I said too.

For we are pretty sure, my hus-
hand, Bill Dozier, and I, that we
can’t hope to give our- daughter pos-
sessions. The day has gone, and we
know it, when we dare do more than
dream of giving her that first fur
coat on her thirteenth birthday or
that snappy convertible when she is
fifteen. The day is out and we know
it when people living on salaried
income, as we do, can have any as-
surance that they will be able to
leave their children an estate. But
there are things we can hope to
leave our kids; mental and emo-
tional riches, so to speak; a clear
vision, a point of view, a job to do, to
do well and love doing. The inner
security these things bring is a bet-
ter security than any that comes
from stocks and bonds and great-
grandmother McGillicuddy’s dia-
mond dog-collar.

Bill and ( Continued on page 88)

Joan wanted Deborah enough to take a very grave chance

Joan and Bill make daily addi-

,\#s

aViett'

at0*

. j -J3ut l'cl' paren^s d°- Its something to do

tions to their daughter’s future

w‘th ]^j_

<SV

Jost Pete — who goes
the Lawford way
to screen success.

His latest is
“Little Women”

Fink and Smith

Bond Street

Puzzlin’, that’s Pete — but not to
his friends, who know that the Lawford
politeness covers a multitude of grins!

BY MAXINE ARNOLD

Pete, tired of polishing a drawing room in pic-
tures, gets his chance in “Storm over Vienna”

“T GUESS I'm hard to know," Peter

I Lawford says, aware of all the
times he’s misunderstood but
not crushed by it. “I don’t go around
gushing over people or bother with
the ‘adjective’ approach, all that ‘you
were wonderful’ — and ‘oh, dahling’
business. People used to being ‘bub-
bled’ over think I’m not friendly
because I don’t ‘bubble’ too. I prob-
ably would be wiser to do so. but
something stops me.

“If I’ve known people a long time
and like them, that’s different. And
when I meet someone I like, I usually
know it immediately. Something
lights up inside. There’s a meeting
of mutual tastes and interests and
personalities.”

With his supreme honesty and
gentle upbringing, Peter refused to
fawn over reporters or court their
cooperation. Never, however, has he
gone to such lengths to discourage
their aid, as one Hollywood writer
intimated, when she got tangled up
in Pete’s feet at a party and re-
marked that ( Continued on page 94)

YOUR

PHOTOPLAY

■■■

ONE LUNCH HOUR, DURING THE
FILMING OF "WHEN MY BABY
SMILES AT ME'/DAN OFFERED
TO DRIVE HIS CO-STAR, BETTY
GRABLE,TO THE COMMISSARY-
HALF A MILE AWAY.

IN THAT JALOPY? I’LL BET \

ON ITS MOTHER'S SIDE IT'S ^
A FIRST COUSIN TO THE ONE-
HOSS SHAY/ THANKS,
ANYWAY, BUT I’LL DRIVE

DAN DAILEY REFUSED TO PART WITH HIS
DISREPUTABLE OLD CONVERTIBLE. HE'D
DRIVE IT TO THE STUDIO'S SOUND STAGE
AND BLITHELY PARK IT NEXT TO THE
OTHER PLAYERS' SLEEK NEW ONES.

MORE TIME PASSES, UNTIL A KNIGHT IN A
MODERN CAR ARRIVES--RIGHARD ARLEN/

A FEW MONTHS LATER DAN BOUGHT A
NEW CAR. HE DROVE IT TO WORK TO THE
SAME SOUND STAGE ON WHICH THEY
WERE SHOOTING "YOU'RE MY EVERYTHING"
ANNE BAXTER WAS DAN'S CO-STAR.

HOLLYWOOD STAR ADVENTURES TOLD IN COMICS

WELL, I CAN/ \
LOOK, BEN HURjTHE
GAS TANK READS
EMPTY/ WE'D BETTER
r-v HITCH A RIDE/ r

Ml IE » MIMH

BUT CAME A DAY WHEN BETTY'S CAR

WAS BEING SERVICED —

HEY, DAN, I'LL PICK
UP MY RAIN CHECK
ON THAT RIDE TO
THE COMMISSARY
IF YOU THINK THIS
CRATE CAN MAKE

MADAM, YOU'RE
SPEAKING OF MY
CONVERTIBLE/
ENTER— AND BE
TRANSPORTED/

STAGE

TIME PASSES AND SO DOES EVERY

OTHER CAR BUT—

I DON'T
UNDERSTAND
IT— CAN'T
FIND ANYTHING
WRONG.

AND BETTY WAS RIGHT. ONCE AGAIN IT WAS
RICHARD ARLEN TO THE RESCUE.

HONESTLY, DAN, THERE'S SOMETHING
YOU SHOULD KNOW. HEATERS ARE FINE,
WHITE SIDE WALLS ARE FINE-EVEN

OH, NO, NOT
ACAIN, DAN/

LOOK, DAN, WITH YOU

IT COULD STRIKE
THREE TIMES.
SUPPOSE I JUST
COME BY TOMORROW
AND PICK YOU UP/

I'D LIKE TO

GET MY HANDS
ON THE GUY
WHO SAID
LIGHTNING
CAN'T STRIKE
TWICE IN THE
SAME PLACE/

Sterling, Christian (called “Windy”) and wife Betty live
on 25-year-old boat remodelled to suit year-round needs

Sterling loves the sea, doesn’t mind fifty-mile round trip
from L. A. harbor to studio where he made “El Paso.”
He runs the fifty-foot schooner entirely under canvas

When the Sterling Haydens hit

the deck they’re home — on the

Brigadoon of Booth Bay

A soft berth for baby — in yellow and white guest bunk. They
have no telephone, get their calls at pay station in nearby
yacht club. Milk, groceries and even diapers are delivered

See your lovelier face! Immaculate! Soft! Rosy!

So much that is YOU speaks for you
in YOUR FACE

Cream Rinse — swirl on more Pond’s to
rinse off last traces of dirt. Tissue off.
Cold Stimulation — give your face a tonic
cold water splash.

And for special softening, use
lanolin-rich Pond’s Dry Skin Cream
generously each night after cleans-
ing. Wipe off lightly so a soft film is
left to help your skin all night. Use
just a touch of cream under your
make-up for extra day-softening, too .

Does your face say the happy,
confident things about you that you
want it to say? It can — but it needs
help. Always at bedtime (for day
cleansings, too) give it this reward-
ing "Outside-Inside” Face Treat-
ment with Pond’s Cold Cream:

Hot Stimulation — splash your face with
hot water.

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Transatlantic Call to Rita and Aly

( Continued, jrom page 35) much to keep
him out of temptation as anything else.
However, when the real thing came to
Aly and he asked that the final papers
be arranged, Joan bore him no ill will.
She has a heart interest of her own and
he was very generous, as is his custom,
in his marriage settlement.

I talked to Rita and Aly at his Cannes
villa, L’Horizon.

The chateau d’ L’Horizon I have known
for many years. It was, you know, one of
the last creative efforts of my great friend,
Maxine Elliott. Situated on the Mediter-
ranean shore, as it is, it is necessary to
cross the railroad tracks to reach it. But
you approach over a private bridge, the
only private bridge the French government
ever has allowed to be built over a rail-
road. How Maxine Elliott arranged this,
no one knows. She was able to do many
things no one else could do.

THE moment Aly saw this villa, even
while Maxine Elliott lived in it, he an-
nounced, “That will be my house one
day.” And after Maxine’s death, he bought
it, lock, stock and barrel, from her heirs.
Immediately, however, he changed it to
suit his more youthful and gayer dis-
position. Now, instead of it being a dark,
yellowish-gray house, as it used to be, it
is pure, sparkling white, like the houses
Aly knows so well in his native land. It
is furnished differently, too, with beau-
tiful furniture, rugs and chintzes and with
some of the library shelves removed to
make room for Aly’s really fine collection
of Degas, Renoirs and Utrillos.

Last autumn, when I lunched at L’Hori-
zon with Aly, after Rita had returned to
America, the upstairs rooms were not
finished. Now, no doubt, they will be
renovated according to Rita’s taste, as well
as Aly’s.

That is not all that Rita, becoming the
beautiful mistress of L’Horizon will
change. Last year, Aly kept open house.
Thirty to forty guests often would sit
down to lunch and many times Aly would
know only half of them, the others having
been brought by friends. Now, he insists,
only those invited by Rita and himself
will be welcome.

He owns eleven houses altogether; five
in France, three in England, two in Ire-
land and one, I think, in Spain. When, on
the telephone, I reproached him for not
getting rid of some of these places, he
said, “Elsa, I wanted to. The one house I
really care about is L’Horizon. But when
I discussed this with my father, he said,
‘What is the use of turning good real
estate into bad money.’ So I gave up all
plans for disposing of any of them.”
What a life they will have, Rita and Aly.
Hollywood, I think, will open its eyes
a little when she goes with Aly to Goode-
wood, Newmarket, Epsom Downs and
Ascot. Naturally, she will be presented to
the King and Queen and British Royal
family. And at Buckingham Palace, I am
sure everyone will fall in love with her,
because she is so very sweet and beautiful.

Aly, you see, is much sought after. And
I understand why. He’s so charming and
such a brilliant sportsman, probably the
most spectacular figure in the racing
world. I went to Epsom Downs, last June,
to see his horse “My Love” run there.
And later, at the Longchamps Grand Prix,
it was exciting to see Aly, a handsome
figure in his gray top hat, morning coat
and striped trousers, his glasses slung
over his shoulder, lead “My Love” from

the paddock to receive a garland of roses.
The next night, however, when I dined
with him at his home, he wore old slacks
and a sport jacket. He is simple, really;
likes his comfort, dresses only when on
public view.

Nor do I forget how he made me rich
for a little while. “Give me ten dollars,
Elsa,” he told me. “I will put it on my
horse ‘Attu’ in the Irish Sweepstakes for
you!” I gave him the ten dollars, of course.
So I was a little disturbed to learn his
jockey, not well, would not ride. My dis-
tress was short-lived, however. For Aly
jumped into the saddle and won the classic.

Too bad he and Rita had to run the
barrage of all that unfortunate publicity.

I warned Aly how it would be when he
told me he was taking Rita to France to
meet his father. “Elsa,” said Aly, “I doubt
the press will pay much attention to me.
I am not a public figure, except in the field
of sports.” But he soon found out.

Neither he nor Rita were very adept
in eluding the press or dealing with them.
But I must say, few people in this world
ever had as many reporters or photog-
raphers assigned to trail them. The fact
that they were not in a position to an-
nounce their marriage plans — which would
have explained many things, including the
presence of Rita’s daughter, Rebecca — did
not help matters, of course.

I am excited about Rita in her new role
of Princess, I confess. I think when she
and Aly take up residence in his beau-
tiful house in Paris during the Grande
Semaine, she will cut quite a figure as
hostess. I doubt, however, that any of
the social triumphs she will know, when
she and Aly come to this country,
will go to her head. She’s naturally un-
assuming. She’s not remotely a cleverly
ambitious woman who would be elated at
social triumphs.

Count on this, however, Aly — now on
the defensive because of what he terms
“scurrilious publicity” — will see that Rita,
as his wife, has every dignity to which
his princess will be entitled.

Another thing. In the past, I have fre-
quently taken Rita to task because she
was not well-dressed. That, too, will be
changed. For Aly, who knows a great deal
about such things, undoubtedly will take a
personal hand in the selection of her ward-
robe and she will have lovely clothes to
suit her beauty.

“Tell me,” I said to Aly, as we talked on
the overseas phone, at so much a minute,
“will Rita continue to make pictures?”

“Of course,’” he said. “She is so won-
derful on the screen, I would be the last
man in the world to curtail this activity.”

Which means, unquestionably, that Rita
will appear in finer pictures than she ever
has appeared in before. No longer will she
be faced with the great necessity of mak-
ing money. And if Harry Cohn, president
of Columbia Pictures, does not choose to
forgive Rita’s refusal to appear in “Lona
Hanson,” a picture which she assures me
was not right for her, she will, of course,
be in a position to make her own pictures
with whomever and wherever she wishes.

Little did I dream, last summer, when
I invited Rita and Aly to dine with me at
the Casino, that I was starting a great
international romance. Little did I dream
two months ago, when I was predicting
they wouldn’t marry, that I now would be
packing the new dress I had made es-
pecially for their wedding, which I am
about to travel three thousand miles to see.

The End

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Lee J. Cobb: His
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I EE J. COBB was stopped cold three
J times in his life just as a promising
career beckoned. Today, at thirty-six, he
is making more money than most bank
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miring letters and his wife is beginning to
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( Continued, from page 33) awful years.”

Virginia Bleecker was twenty-four
when she met Gordon MacAllister, a
theological student. Her face, her tem-
perament and her nature matched her pro-
fession of registered nurse. They fell in love
and, in 1943, when Gordon was a deacon
with his own parish in Baltimore, they were
married. The next year, Gordon Jr., the
spitting image of his dad, arrived. Be-
cause his hair was so red, they imme-
diately nicknamed him Rusty (it no
longer fits — the red has turned to pure
gold). Then Gordon was ordained and he
was called to a church in Trenton, New
Jersey.

Life was a lovely thing, then. Two
people, very much in love, serving God
and people. But tragedy came. That was
1945. Gordon was thirty and he was at-
tacked by polio. In three days, he was
dead. Virginia still has trouble talking
about it. It was the end of the happiest
period in her life.

“I felt absolutely nothing. Nothing.
You don’t feel anything when it’s happen-
ing. It’s later, when you’re able to think
that it hits you.

“When you get that low, you just don’t
feel. I went around in a daze, knowing
that my world had gone, was completely
shattered. I stayed with my parents all
that winter, and then I went to San Fran-
cisco with Rusty to see my brother.

“When I got back to Warrensburg, I
decided I had to get a grip on myself.
My normal weight is a hundred and
twenty — I was down to eighty pounds.
So, even if I forgot about myself, I had
to think of Rusty, and I had to figure out
a way to make a living.

“Mother and Dad run a girls’ camp, so
I agreed to become the camp nurse in the
summer. Then I started to take up ski-
ing and, during the winter, I’m a ski
instructor.”

The first two years after Gordon’s death
were made up of nothing except depres-
sion and an almost unbearable sadness.
Her heart ached with the memory of the
home they’d once had, and of every pos-
session in that ( Continued on page 76)

the life of a

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( Continued from, page 74) house being sold
when she and Rusty left Trenton. But as
time passed and Rusty began to grow, Vir-
ginia began to smile, and dream again.
And her dream was always about a home.

“My parents are wonderful people and
they try so hard to be understanding —
but it’s difficult. And as soon as I started
planning for Rusty’s future, I knew we
had to live by ourselves.

“But I felt trapped. I couldn’t afford
to move, or buy a place. But I wanted
a home for my son. I wanted it very
badly and I’d do anything to get it. While
Rusty is little, I’ve got to stay home and
take care of him. He needs that — and in
our own home, he would get the atten-
tion and care and love he needs.” That
was her dream. And she was sure it
was a hopeless one.

“But then I read about the Dream
House and when I looked at the pictures I
began to wonder. . . .”

VIRGINIA had never entered a contest of
any kind in her life. But a house! A
home for Rusty and her. She worked on
her last-line jingle, sent it in and forgot
about it. “You know how it is,” she said.
“You never really believe you have a
chance.”

At the same time, more than 250,000
other Photoplay readers sent in their en-
tries. The Reuben H. Donnelly Corp.,
one of the largest contest organizations
in the country, performed the gigantic task
of judging the contest. First, every entry
was copied on a separate sheet of paper
and given a number — to make sure that
the judges judged the entry solely on
merit, without having any idea who wrote
it. The entries then went through five
panels of judges. Each panel eliminated
those that didn’t make the grade, until the
best ten were picked.

The last ten entries were then judged
by the final panel of nine judges — the
“Supreme Court.” This was the toughest
job of all, but the nine agreed unan-
imously on Virginia’s entry as the winner.

As soon as the first excitement of the
announcement subsided, Virginia and her
good-news guests went lot hunting. She
found what she wanted — right near the
school.

Then, that same afternoon, she was
driven to Glens Falls, seventeen miles
away, to meet Lawrence Griffin, head of
the lumber company which is building her
Industry Engineered House.

When the car stopped in front of a
furniture store, Virginia asked, “Why are
we going in here?” She had completely
forgotten that her dream-come-true came
completely furnished! Her green-blue
eyes looked unbelievingly at the furni-
ture. When she was shown the washing
machine and dishwasher, refrigerator and
vacuum cleaner, mattresses and sheets,
rugs and draperies, the furniture for the
different rooms and, finally, the door-
chimes, she sat down on one of the new
chairs, rubbed her forehead and started
to laugh with incredulous joy. “Every-
thing, including chimes!” she shouted. At
that, Rusty began to laugh and Bing, his
Dalmatian pup, began to bark.

Back at home again, she lovingly studied
the plans for her new house. She wanted
to know how the National Retail Lumber
Dealers Association had organized its
27,000 dealers in its cooperative venture
to create lower-cost quality houses for
Americans. She wanted to know all
about the streamlined construction de-
tails. And then she began to talk about
the house itself — the windows on all sides
that invite in the sun. The two bed-
rooms, the modern kitchen and bathroom.
The big living room and the dining room
space. And she wondered what it would
be like to watch Rusty pedaling his bike

down the front walk, with Bing chasing
after him.

The bewildering, incredible day was
almost over. Virginia was more tired
than she believed possible — and happier.
She undressed Rusty for bed. She tucked
him in, held him close for a minute and
whispered, “Darling, we now have a home,
our own home, our very own home.”

Rusty smiled, in a strange grown-up
fashion. “Daddy would have liked that,”
he said.

For now, by a strange twist of Destiny,
Gordon MacAllister’s son will be brought
up in Warrensburg, just as he wanted.
And for his widow, the house is more
than just a house. Winning it was won-
derful, of course. But the event is a great
deal more than just winning something —
it seems, to her, to mark the turning point
of her life.

“When Rusty and I walk into that
house,” she said, “it will be like walking i
over the threshold of a new, wonderful life
for us. Thank you for doing that.”

Virginia MacAllister’s Dream House
Will Have:

A Kitchen, Bath and Heating Unit by
Borg-Warner

Hardwood Floors by E. L. Bruce
Framing, Lumber, Sheathing and Siding
by Weyerhaeuser

Insulation by National Mineral Wool
Roofing by Asphalt Roofing Industries
Millwork by Ponderosa Pine
Wallboard by Gypsum Association

The Furnishings Will Be:

Rugs and Carpeting by
Alexander Smith & Sons Carpet Co.
Clothes Washer, Dish Washer and
Gladiron by Thor Corp.

Two Bedroom Suites by
Mengel Furniture Co.

Upholstered Living-room Suite by
Kroehler Mfg. Co.

Dinette Suite by Mengel Furniture Co.
Crosley Radio by Avco Mfg. Co.

Desk and Bookcase by
Mengel Furniture Co.

Cedar Chest by Lane Chest Co.

Closet and Wardrobe Accesories by
E-Z-Do and Princess House
Electronic Blankets, Beauty Rest
Mattresses by Simmons Co.

Window Shades and Drapes by
Clopay Corp.

Sheets and Pillowcases by
Dan River Mills, Inc.

Towels by Dundee Mills, Inc.

Shower Curtains by
I. B. Kleinert Rubber Co.

Wallpaper by United Wallpaper
Vacuum Cleaner by
Apex Electrical Mfg. Co.

Lamps for Bedroom, Living Room and
Kitchen by Certified Lamp Makers
Modern Hall Clock and Door Chimes by
NuTone Door Chimes
Ozite Under-rug Cushions by
American Hair & Felt Co.

Carpet Sweeper by
Bissell Carpet Sweeper Co.

Flatware Service for Four by
Dirilyte Flatware

Refresher Boxes for Storing Food by Ruzak
Shelving and Doilies by Royledge Co.
Mirrors by Donnelly-Kelley Glass Co.
Electric Toaster, Never-lift Iron and I
Cordminder by Proctor Electric Co.
Jewelite Brushes and Dresser Set by
Pro-Phy-Lac-Tic Brush Co.

Fire King Ovenware, 53-Piece Set Jade-ite
Dishes by Anchor Hocking Glass Co.
K-Venience Closet Fixtures by
Knape and Vogt
Rubber Kitchen Accessories by
Rubbermaid Houseware Co.

Coffee Table by Michigan Seating Co.

The End

Spotlight on Liza

( Continued, from page 45) bit of jewelry”
Vincente had given her for Christmas!

She looked so happy and gay I found
myself saying, “I hope this year finds you
always looking this radiant, Judy. And
that you will be very, very happy.”

She smiled that famous smile that will
always be like a little girl’s and said, “Oh,
it will, I’m sure. I have so much to make
me happy. Vincente, our home, my work
and Liza. We love her so much.”

That was the opening I had been wait-
ing for, but I wanted to broach it tact-
fully, so I phrased it:

“Is it true that you and Vincente have
no objections to little Liza becoming an
actress?”

“Objections?” repeated Judy in surprise.
“I’ve never thought for a minute that she
would be anything else. Her father and
I could wish her nothing more wonderful
than the talent for a creative career of
her own. She’s only three, but already,
she loves the studio . .

. . . and naturally, when he came home from a long trip,

Mrs. T.S. was very happy — until she unpacked his bag.

The clean white shirts he took away always came back with
a "mourning band” of railroad dust ground into the collars and cuffs.
And the job of getting those shirts white again was not only
a test of wifely devotion — it was very hard on the shirts.

THE music blared louder and louder
and this was certainly not the time to
continue. “Listen, Judy,” I said, above the
din, “that is very interesting and I want to
talk longer with you about it. May I come
up in a few days and see you at home?”

And that’s how we set the date that
found me. a few days later, headed for
the Minnelli’s hillside home, modern in
feeling and very luxurious.

It was late in the afternoon and Judy
was wearing a white hostess coat with a
wide gold belt and gold sandals. Although
she is definitely the “little girl” type, she
loves luxurious clothes and surroundings
and particularly shuns “cute” things to
wear.

She led me into the enormous living
room, with its windows from ceiling to
floor, and it was hardly any time at all
until we had resumed our conversation
about Liza.

“Louella, from the time the baby could
stand up, she tried to play ‘dress up,’ ”
Judy told me, proudly. “Now she is three,
she revels in being made up, putting on
special clothes and in doing just what I
do. When I take her to the studio, she
absolutely glows with happiness. She
loves the excitement and the people and all
the play acting. And she is so beautiful!
Haven’t you noticed that?”

I had, indeed. Liza Minnelli, at the ten-
der milestone of three, is one of the most
beautiful children in Hollywood or any-
where else. Her great big brown eyes, so
expressive, showed in the very first pho-
tograph she ever had taken, which her
mother proudly showed me, when Miss
Minnelli was about three months old.

“Will you let her continue to work even
when you aren’t in the picture?” I asked.

“Oh, no. Not yet. Not unless her father
is directing her or I am playing in the
picture, we don’t want her before a
camera. Until she is thirteen or fourteen,
she will have to confine her ‘emoting’ to
pictures we are handling. Then, if she
still wants to be an actress, and I am sure
she will, she can work with other players.”

Judy chuckled, “You know, she is such
a ham! She just loves every part of pic-
ture making. She used to cry when I
left for the studio and beg to go with me.
When she played her little bit in ‘In the
Good Old Summertime,’ she was so happy
she could leave with me in the morning,
be made up and put on new clothes for
her ‘part.’ Irene made my wardrobe, so
she made Liza’s clothes, too, including a
darling little hat which she loves.”

I said, flatly, “Then, Judy, you have no
feeling against a little girl starting to work
when she is little more than a baby?”

The happy ending to this story came the first time Mrs. T.S. tried
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'K H

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Her answer was as direct as my ques-
tion had been. “None at all! I started
when I was three, and I know it did not
hurt me. Of that I am very sure.” She
seemed to be emphasizing the words.

“Remember that I worked with my
mother, father and sisters, who were in
vaudeville. Usually we worked in the
theaters in which my father had an in-
terest. I can tell you that we little Gumms
were very happy children and we were
envied by the children we played with
and went to school with because we were
theatrical kids and on the stage.

“Don’t think for a minute we did not
have to eat our spinach and drink our milk
just like the other kids. And just because
we did a lot of singing and dancing didn’t
mean we didn’t do a lot of studying, too.

I went to public schools in Lancaster and
in Los Angeles and I was a good pupil, if
I do say so myself.

“Of course, as I approached the ’teens
I became more and more ambitious and
we were allowed to branch out more.
Virginia and Suzanne and I worked up a
close harmony act, which you know about.
It was while we Gumm girls were playing
a Los Angeles date that Georgie Jessel
appeared on the same bill with us and
suggested that we change our name to
Garland.”

JUDY paused a moment before continu-
ing, “I’m not giving you a biography.
I’m sure you know my background too well
for that. But I just wanted to make these
things clear so you can better understand
how I feel about Liza.

“I’m sure you remember that when I
first went to M-G-M as a child star, I was
a very fat, pudgy little person. Did I look
like an undernourished, underfed cheeeild
of the theater, a poor little thing?”

“You certainly did not, Judy,” I laughed,
remembering just how true her words
were. She had, indeed, been a very chubby
little party.

“I was happy, too, and loved every
moment of my work. And already, I can
sense that Liza feels the same way,” she
went on. “I wouldn’t for a minute let
Liza work if it was work for her, but it
is play, just as it was for me, and she loves
every minute of it.

“Another thing I would like to point out.
When actors say ‘I wouldn’t think of allow-
ing my daughter or son to go on the stage
or into the movies,’ then something must
be radically wrong with them. They have
found no happiness in their own career,
these people. Both Vincente and I feel
any child who has real talent should be
encouraged and made to feel proud of it!
My work is one of the three great joys
of my life. Liza’s father is wrapped up in
his work as a director, so what is more
natural than that our child should have
acting in her blood? Can you think of
any earthly good reason why we should
want to keep her from the same happiness
and accomplishment?”

“All right,” I laughed. “You’ve cer-
tainly made your points. By the way,
would you feel the same way if Liza had
happened to be a boy?”

Judy laughed, “You’ve got me there. I
really don’t know, but I doubt it. It is
all right for boys to grow up to become
directors or writers or producers. But I
have a feeling that acting, and most of the
fun connected with it, is a girl’s game.

“It is natural for girls to love beautiful
things and nice surroundings and to want
to earn them for themselves. I couldn’t
be prouder of my house. It has been
described as being ‘luxurious,’ whether as
a compliment or a criticism, I don’t know.
But it is exactly as Vincente and I want
to live. In fact, Vince has such original
ideas. He designed and planned the fur-

nishings himself. He is very artistic and
if he hadn’t been a successful director, he
would have been very successful as an
interior decorator. Wouldn’t you like to
see the house again, Louella?”

I certainly would, and so we started on
a tour of what seems to be quite a large
place, but isn’t. Strictly speaking, it is a
one-bedroom house completely minus a
dining room, but it seems to have a feeling
of great space. The living room walls are
dark green, the furniture black lacquer
and all the lamps are white. The two
enormous couches are covered in white
chintz with big, pink roses. The piano,
where Judy does her rehearsing and ar-
ranging, is set in a huge window alcove,
overlooking the entire valley of Holly-
wood.

THE bedroom, which Judy and Vincente
share, is very unusual, particularly in the
colors. The walls are dark brown with
white curtains at the wide windows. The
floor is covered with a pinkish colored
string rug. very deep and “sinky.” Ad-
joining this is Judy’s very elaborate dress-
ing room with a French dressing table
inlaid with mother of pearl and a black
chair also inlaid with mother of pearl.

And then we went downstairs to the
lower level, which has the two rooms of
Miss Liza’s nursery, the nursery proper
and the nurse’s bedroom.

This is one of the gayest and happiest
rooms I have ever seen for a child. It is
all in soft pinks and blues and beiges. The
thing I loved most about it, even more
than the lovely furnishings, is that nobody
seems to care that Miss Liza has herself
done some decorating on the walls with
her crayons!

“Of course we don’t intend to wash them
off,” laughed Judy. “Didn’t I tell you our
child has talent in many fields?” I wouldn’t
go so far as to say that the scragglings I
saw hinted at a future artist in the family,
but I kept quiet about it.

Liza, herself, was out this afternoon, at
the home of a little girl playmate up the
street. “That’s something else we don’t
want happening around here, not letting
Liza play with other children her own age.
What a big mistake that is because so
many movie people are afraid of kid-
nappers.”

“Judy."' I said, as we walked back to the
front door, “you have completely sold me
that the life of the ‘poor little cheeeild of
the theater’ is dreamy. And I hope your
little girl is the big star you expect her
to be.”

“She will be,” Judy called, as I drove
away. “Just wait and see!”

The End

Are you in the know ?

His first romantic role! Richard Widmark,
Linda Darnell in “Slattery’s Hurricane”

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I | Smile and switch Q Keep on dancing O Play deaf

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What's the best makeup remover?

CD Soap and water
I I Cold cream
I j Smooching

Avast there, matey! First slip makeup off
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I I Pry into his past
I I Ask your brother

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about the mystery boy. As for girls, there
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fashion editor

promotion director
retail director

photographers

Jane Powell is enchanting and
vivacious in M-G-M’s “A Date with Judy.”

Lately, she has been making :

personal appearances

You’ll he in the mood for dancing
in this full-skirted dress and smart
separate stole by Emma Dornb. !
Bates “Sun Country” gingham plaid in
sizes 10-16 and 9-15. $25.00

For store nearest you see listing on page 97

or write direct to manufacturer listed
on page 85

Viveca Lindfors, the new and beautiful Swedish star of Warner Brothers’ “Night unto Night”

An Everfast calico print cotton with the new flattering Empire line, a scooped neckline,
and a reversible bolero of calico and solid color. By Junior Clique in sizes 9-15 and 10-18.
$12.95 at Stern Bros., New York, N. Y., and Woodward and Lothrop, Washington, D. C.

For additional stores write direct to manufacturer listed on page 85

A butcher linen dress by
Barbara Field with a ribbon
and embroidered medallion
at the neck to earn you fashion
honors. In dark and light shades
Sizes 9-15. $17.95 at Carson.

Pirie Scott & Co., Chicago, 111.,
ind J. P. Allen & Co., Atlanta, Ga.

the time of year when crisp cotton is
worn with a new and elegant air. The
new cotton fabrics are so exciting you
have to look twice to recognize them —
they’re shot v/ith gold thread, they’re
dotted with gold lacquer and they’re
printed with wonderful colors and pat-
terns. The best styles are those with
moderate softness and deft dressmaker
touches. Favorites in sleeves are the
elbow-length or short sleeves. The modi-
fied skirt fullness in the cottons this

year is flattering to all types. They’re so
easy to accessorize, too. You can buy
linen shoes and have them dyed to match
or contrast with your dress. You can
buy a straw hat and put a wreath of
cotton flowers around the crown and you
can find the most wonderful cotton coats
to wear when the weather gets warmer.
And, last but not least, cottons are so
easily tub-able which means you’ll al-
ways look fresh and crisp and pretty.
This year make mine cotton, please.

photoplays

pattern of the month

street

city state.

Susan Hayward’s dress designed by
Herschel for Eagle Lion’s “Tulsa”

An ultra feminine dress, this, with the softest and most flat-
tering of necklines. It can be made in any number of fabrics
but the designer chooses cotton as the perfect medium for
the soft youngness of this dress. Everfast have an ador-
able woven gingham that is sanforized shrunk. Simply
add white cotton collar and cuffs and youf’ll have made a
very pretty dress, indeed.

front

back

PHOTOPLAY PATTERNS,
205 East 42nd Street,

New York 17, New York

Enclosed find thirty-five cents ($.35) for which please
send me the Photoplay Pattern of the Susan Hayward
"Tulsa” dress in size 12 — 14 — 16 — 18 — 20.

nerschel

designer of
Susan Hayward’s
“Tulsa” dress

JLJIerschel says that the clothes he designed for “Tulsa” are
ultra feminine without being fussy, which is his idea of being
well-dressed. He thinks the versatile lives of modern women
demand naturally beautiful clothes that can be worn for many
occasions. This means a tasteful and simple combination of line
and color in suitable materials. So the appearance of a garment
for its maximum period of wear is assured.

To achieve the smoothest possible body-moulded line, Her-
schel built slips and bra-tops into several of Miss Hayward’s
outfits. He feels that a good foundation is essential to the best
appearance of any outer garment.

Herschel also believes that with imagination and good taste
in the handling of color, line and material, clothes can literally
be timeless and worn with perfect assurance anywhere.

wherever you live you can buy

photoplay fashions

If the preceding pages do not list stores in your vicinity where Photoplay
Fashions are sold, please write to the manufacturers listed below :

plaid evening dress

Emma Domb, 2225 Palou Ave., Apparel City, San Francisco, Cal.
calico dress with bolero

Barmon Brothers Co., Inc., 937 Broadway, Buffalo, N. Y.

dress with neck medallion

Barbara Field, Inc., 337 Franklin St., Chicago, 111.

two-piece dress with gold dots

Doris Dodson, 1120 Washington Ave., St. Louis, Mo.

stores selling photoplay patterns

Lit Brothers, Philadelphia, Pa.

The Hecht Company, Washington, D. C.

you

SHOES

Ask your shoe man, or write for
the name of your nearest dealer

PETERS SHOE COMPANY, SAINT LOUIS

who

is the
girl

that draws
admiring
glances?

: P

Meg Randall is blonde and charming in

P Universal-International’s “The Life of Riley”

H
0
T
0
P
L
A
Y

MitrOOT

A two-piece cotton dotted with gold lacquer makes this Doris Dodson dress both
practical and glamorous. In brown, navy or gray. Sizes 9-15. $12.95 at

Stix, Raer and Fuller, St. Louis, Mo., and Lindner, Coy, Cleveland, Ohio

Buttons and Bows

( Continued from page 41} newlyweds like
Diana Lynn and John Lindsay, Rita and
Rory Calhoun and Wanda Hendrix and
Audie Murphy.

The town’s top designers are working
day and night to fill their Easter orders.
Don Loper says, “This year, sheer wool
combined with taffeta for afternoon and
cocktail suits — silk serge is important, too —
and for summer wear, sheers with an at-
once-covered-yet-uncovered look.” Don’s
partial to “tapestry tones,” as he calls them.
Sea-foam green, black rose and black
pearl. Hats, as Don says, will be small and
head-hugging. And dresses — twelve inches
from the floor for daytime wear and eight
inches from the floor for cocktail hours.

Athena, another favorite of Hollywood,
specializes in suits — hip length jackets and
fine detail. She predicts gray, beige and
navy as spring colors. Emerald green for
vibrance. For evening, Athena likes or-
gandies— all embroidered— and for day-
time wear, above all, glamorized cottons.

Arte,

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HOLLYWOOD mothers plan Easter with
emphasis on the children’s pleasure. The
lawn of Irene Dunne’s home will look like
the lawn of the White House. Mary Fran-
ces and her friends will take it over with
an egg-rolling contest. Dorothy Lamour
invited Christina Crawford to hunt eggs
with her three-year-old Ridgley Howard.

Betty Hutton Briskin has a new idea for
a children’s party. She’ll hide tiny stuffed
animals in her garden — and finding will
be keeping. However, earlier, Candice and
Lindsay Briskin will have wonderful pres-
ent— a family of live bunnies.

George Montgomery — his furniture-
building hobby is turning into big business
— is making Melissa Ann Montgomery a
high chair. Easter morning — when she
sees it first — there’ll be a huge white plush
bunny and colored eggs sitting on the tray.

Following Easter, parties will be in
order again. And we couldn’t be thinking
of things spring and not tell you about
Greer Garson’s ravishing dancing gown.
The skirt is layers and layers of tulle that
graduates from deep rose ’way underneath
to pale mauve on top. The bodice of mauve
crepe is very snug, rather long-waisted,
with tiny cap sleeves. Very low in front
and very, very low in back — in a triangular
decolletage. Simply divine with Greer’s
red hair . . . but these are shades that
flatter positively everyone . . . except those
unfortunates who have very sallow skin.
Murder!

Barbara Bel Geddes goes just a little
“heavier” with porcelain blue net for her
blondeness. Her gown has a bouffant skirt
of taffeta banded with puffed net, while
its top is tight-fitting, normal-waisted, low
and heart-shaped in front . . . almost back-
less in back with narrow taffeta shoulder
straps. Her slippers are of a slightly deep-
er blue satin — sandals, not those closed
toe, elongated horrors with which foolish
fillies unflatter their feet.

Th^re is, too, that wonderful go-any-
where dress that Shelley Winters has
ordered. It looks for all the world like a
suit, with a short, buttoned, full-sleeved
jacket — and a peg-topped skirt — and can
“travel” as such. But when the jacket
comes off there’s a strapless dress which
can go on and on to parties later — just
in case the other dolls are more dressed
up. Shelley’s ensemble is of a small print
in pale tans, cinnamons and browns on an
off-white challis. But this cute trick could
be made of any number of textures. With
this “dress suit” Shelley wears gold jewelry
and neat bl&ck accessories.

What a season" this is going to be!

Happy Easter!

The End

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Portland; The Hecht Co., Washington, D. C.;

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•Residual shrinkage not more than 3 %

IT'S A

DAN RIVER

Missy Dozier's Bank Account

( Continued from page 63) I, God willing,
will help Deborah 'find this good security
by using what I call, right aptly, I think,
the “exposure method.”

Debby is being exposed, right now, this
minute, to the way grown-up people,
working people, working parents live.
Missy Dozier is waked up when Mama and
Papa come home from work, whether it’s
schedule time for her to be waked up,
or not. Papa, the producer, might regu-
late his wrist watch by the nursery time-
table. But Mama, the actress, is certainly
not going to say to her director in the mid-
dle of a take, “Sorry, old thing, must be
toddling along now, time for the baby to
wake up, you know.” In our house, there
is no tiptoeing around or tinning off radios
or stifling screams of laughter with that
“S’h’h’h, we’ll wake the baby!” spirit-
dampener. And in this relaxed, if far from
hushed environment, the baby, let me
pass the tip along to other young mothers,
does riot wake. . .

WHEN we knew Deborah was on her
way — we wanted a “her,” were deter-
mined to have a “her” (the other three
can determine their own sexes as they see
fit!), Bill and I thought of building a new
home on property we own in Bel-Air.
With an addition to the family, we needed
more room, and badly, but the Bel-Air site
is hilltop property, which means it is un-
walkable miles away from any school,
our present home, on the other hand,
although also on a hilltop, is only four
blocks from the Catholic School Deborah
will attend. This means Deborah can
walk to school. We want her to walk to
school. We do not want her driven by a
chauffeur. So, in order that our child
need not be dependent on anything but
her own two legs, we added a couple of
rooms and bath to the house in which we
were living, and stayed put.

I doubt very much that we will ever
want to send Deborah to boarding school,
although this is, I must admit, an emotional
reaction on my part, since I went twice
to boarding school and it was hideous.
I loathed it. I was so homesick, I had a
nervous breakdown when I was nine years
old and nightmares for nine years after
that. But we will send our child to school,
early. To nursery school, we plan, when
she is three. We do not want her to be
the Little Queen around here and I think
the best way to cut a child to size is by
exposure to other children. Later, Deborah
will go to a public and coed school.

And another thing: As soon as Deborah
goes to school, her nurse will not be just
her nurse but a nurse -cook or a nurse -
laundress, if you like, but a nurse with
other duties. Which will remove from our
daughter’s mind any notion she may have
that she has, oh, please, a personal maid!
In a world where the majority of us are
going to do our own maiding, not to men-
tion our own carpentry, house-painting
and plumbing, to give any child delusions
that she will have anyone to wait on her,
is nonsense. And we do not want Deborah
to be an only child.

Childbirth is pain and frenzy. It is worse
than I thought it would be. With a spinal,
it might be bearable in a baleful sort of
way. But I turned out to be allergic to
all known ways of deadening labor pain,
with the result that for ten-and-a-half
hours, I was in pain. I remember them
tying me down. . . . Even so, two hours
after Deborah was bom, Bill leaned over
me and whispered, “Do you still mean it?”
and I, knowing he meant did I still want
four children, said, “Yes, I do.” And I do.
When I married Bill, I faced the fact

MORE WOMEN WEAR FORMFIT THAN ANY OTHER MAKE

that I could never be a mother. An oper-
ation, a few years ago, was such that my
chances of pregnancy were, I was warned,
minus nothing. Yet, I hqd Deborah . . .
and once a miracle befalls you, why not
two miracles, three, four. . .? Three pic-
tures and one baby every two years, for
the next six years is my determined proj-
ect and our devout prayer.

Since exposure to a spiritual background,
some kind of religious belief, is vitally im-
portant in the life of any individual, and
her father was born g Catholic, Deborah
will be baptized in the Catholic Church.
If, later on, she feels another religion has
more for her, the decision will be hers.

We plan to take Deborah to concerts,
to opera and to ballets. In the natural
course of her life with Mother and with
Father, she will see pictures being made —
from script to world premiere. She’ll be
present at radio and television broadcasts
all of which will give her a comprehensive
view of the arts in operation. We’ll take
her to hospitals, orphan asylums, prisons,
courts of law, where she will be exposed
to the physically, mentally and morally
sick, and to those who help them. We’ll
take her through factories and coal mines
and we’ll expose her to Mr. and Mrs. Got-
rocks, to luxury hotels, country clubs and
the like, so that she may see with her own
eyes, .hear with her own ears, how both
halves live.

WE plan to do a lot of reading with
Deborah, and will try to make great
literature fun tfor her. Dad, coming home
with a book under his arm, saying, “Look,
just found something wonderful, can’t wait
to read it, let’s gather round the fire and
get going!” That sort of thing.

Sunday morning breakfasts are the big
“Do’s” at our house. Bill and I started
cooking together right after we were mar-
ried, and Sunday is our day for throwing
the diet, if any, down the clothes-chute. Just
as soon as Deborah can sit at table, she’ll
have her hand in the mixing bowl, too!
I can cook and I mean cook. I can sew
and I can scrub a floor and Bill and I,
together, often do a bit of carpentry, a
plumbing job and love it. I do hope that
Deborah will be wise enough to know that
! you can get pleasure out of any work
. you do, so long as you do it with emotion,

: not just with a motion.

: You can, of course, as I have so early
l learned, be absurdly frustrated in this
loving and laudable pursuit of riches from
j within for your young. As a shocking
l example, when Bill and I knew our child
i was coming and decided not to build a
j new house for her, we turned our bed-
I room into a nursery for her, and connected
! with the nursery by means of a bath and
t closet space, we built a new room in the
\ courtyard for ourselves. In the closet
t space, I hopefully installed a very fine
t record player and a library of records that
I would make the mouth of Lauritz Melchior

I water! My child, I said, is going to hear
and absorb great music while absorbing
Pablum in the bassinette. So what hap-
pens? She has a nurse who listens all

[I night long to soap operas and “Crime of
’ Mary Smith” all morning long.

This deterrent notwithstanding, the ex-
posure method will be, as outlined, the
method by which Deborah is raised — and
if, by the time she reaches the Age of

[Season, (when is it?) she can’t decide
whether she wants to be Catholic or
Mohammedan, Democrat or Republican,
>r neither, a ballet dancer, a violinist, an
ictress like Ma, a producer like Pa, a
lousewife or work in a candy store— but
he will be able to decide, of course
he will. As I said to Jimmy Stewart,
‘How can she miss?”

The End

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( Continued, from page 52) visiting military
hospitals, studying, or otherwise keeping
herself usefully occupied. She drives an
inconspicuous medium-priced coupe.

Her handbags are all small because she
does not carry the customary make-up
paraphernalia. She detests square, padded
shoulders and racial discrimination.

Her favorite cocktail is a Scotch sour.

She rarely wears a beautiful mink coat
(a gift from one of’her producers) because
it makes her self-conscious. “. . . too much
like a movie star.”

She is fond of pickles, Negro spirituals
and small, intimate parties. She learned to
smoke for her role in “Arch of Triumph,”
acquired a liking for the habit and then
abruptly quit it at the start of “Joan of
Arc.” Her average weight is 135 pounds.

Her favorite street is Fifth Avenue, and
in addition to her wedding ring, she now
wears a gold replica of the ring worn by
Joan of Arc. She likes to ski.

She hates formalities at the dinner table,
prefers serving herself, and her passion for
her profession is the dominant force of
her life. For Ingrid, acting is an unfailing
instrument of escape from inhibitions and
the restraints of realities.

She wore dental braces at fifteen.

She never wears earrings, has taken out
her first American citizenship papers, and
is the answer to a director’s prayer. Lewis
Milestone once said: “I never have to com-
promise when planning a scene. She has
no limitations. She responds like a fine
violin.”

She reads on the average of two books a
week, and to date has won a total of
thirty-one awards, including the Photo-
play Gold Medal — three times!

She was born on the top floor of an
apartment house in Stockholm, blushes on
the slightest provocation, and meticulously
plans any task confronting her, then rushes
headlong to get it done.

She seldom indulges in' raw onions,
never budgets herself; and her daughter,
Pia, is ten years old.

Her account is perpetually in trouble
because she fails to make note of the
checks she has written. Her hair is the
color of clover honey, darker in winter,
lighter in summer.

Ingrid Bergman’s only superstition is to
be kicked vigorously on the posterior on
the first day of production, this good luck
gesture being usually administered by her
English coach-friend, Ruth Roberts.

She never wears ornaments in her hair,
is invariably early to an appointment, and
at the height of her career — when she
was already rated Number One at the box
office — a friend said: “You have yet to
play your great part. Someday you will be
a great actress.” She beamed and warmly
replied: “Thank you. I hope so. I have
much to learn.”

She was married in 1937 in Stockholm
to Dr. Peter Aron Lindstrom, a dentist at
the time, but now an outstanding neuro-
surgeon resident at the Los Angeles
County General Hospital.

She employs four fingers, typing her
letters on a small portable, which goes
with her on all her travels. She carries
her large frame with uncommon grace,
prompting her leading man in “Joan of
Lorraine,” Sam Wanamaker, to exclaim:
“She falls like a piece of silk.”

She is a beautiful ballroom dancer and
although the Lindstroms once shied from
night clubs, they may now occasionally be
seen dancing until the closing hour.

Hollywood associates instinctively ad-
dress her as “Miss Bergman,” never with
the traditional “darling” or “dear,” with
the exception of director Victor Fleming

who has always called her “Angel.”

She is tenacious, has true humility and
honest pride. She has, during the past two
years, given a great deal of thought and
time to the graphic arts and as a conse-
quence is beginning to acquire some fine
paintings. She hopes someday to own a
Renoir.

Her family speak only English at home
but once in a while, under excitement, she
will garble her English with Swedish. She
is a stickler for truth and she can bathe
and effect a complete wardrobe change
within fifteen minutes.

She is' an 8 mm. camera fiend and is
the bane of movie sound engineers because
of her determination to make a movie
record of her productions.

INGRID BERGMAN bums up at intru-
sions on her privacy, never raises her
voice and hasn’t quite yet grasped the fact
that due to her own extraordinary quali-
ties she has become public property.

She has gradually been weaned from
peasant skirts, is an avid movie fan, has
a certain modified fatalism, but firmly be-
lieves that people pretty much cut the
pattern of their own lives.

She never carries much money.

She is a fair equestrienne, exceedingly
generous and seven hours sleep is normal
for her — four hours often being sufficient.
She still takes French and voice lessons.

Her mother died when she was two, her
father when she was twelve. She is a
gastronomic explorer, ever eager to try
strange dishes and strange beverages indig-
enous to wherever she happens to be. She
resorts to a scarf whenever she feels the
need for a hat. Her favorite haunt is the

says. She is not systematic in her persona
life because of her aversion to regimenta-
tion. She disliked school as a young gir
because she was impatient to grow up anc
become an actress.

She has to watch her diet.

She always wears flat-heeled shoes be-;
cause of her height and thinks the mos
beautiful building she has ever seen i; i
the little white church in which she wa
married, in the northern Swedish town o -
Stode, situated on the banks of a turbu-
lent river. She and her husband revisitec ;
this church last winter, on . completion o
“Under Capricorn” in London.

She drives like a man.

She can be moody and sulky, but th
only outward sign of this is a stony silence

She wears a silver charm bracele
crowded with treasured mementos of he .!
friends and experiences. She regrets tha
unreasonable autograph hunters hav
made it impossible to enjoy strolling i:
New York, as she used to do.

She had no idea how much money sh
was being paid until, during “Arch c d
Triumph,” she was unwittingly handed he
weekly check by a messenger boy.

She studies her directors as carefull
as she does her scripts. After signin

Beachcombers in Hollywood, famed for its
Chinese-Hawaiian food.

Her only exercise is walking and swim-
ming, and until recently she was afraid to
wear green, a color particularly flattering
to her luminous personality.

Her eyes are blue-gray, her favorite
opera, “Carmen,” and her vitality amazing.
She simply never peters out. She is one
of the few actresses who is as fresh at six
o’clock as she was at nine in the morning.

She likes sandwiches because she likes
to hold what she eats.

Her uncles and aunts, who raised her,
tried to discourage her acting ambitions.
She maintains voluminous scrapbooks and
readily points out the unfavorable reviews.
“Good for me to remember them,” she

the contract to do “The Bells of S
Mary’s,” she spent days looking at ever
available picture directed by Leo Me
Carey. When he heard of this, not under
standing her motive, he raged: “If sh
doesn’t think I’m good enough, she sti'
doesn’t have to do the picture!”

She only attended the Royal Dramat:
School in Stockholm for one year, a fa(
they have never forgiven. At the time the
warned her: “The movies will ruin you |
They still stick to it.

She has a strong social consciousness bi
admits she knows nothing about politic r]
She makes it a point to visit New Yor
and see the plays at least once, a year.

She prefers off-beat roles, and h;
developed superb self-assurance on pei
sonal appearances due to her extensh
work during the war. She is now, a mo, :
surprising impromptu speaker.

She has fulfilled her dominant ambitic
— to play Joan of Arc. Her uncommc
frankness and simplicity are the keys 1 1
her charm and the true wonder of her ae
ing is its seeming effortlessness.

Her age?

Ingrid Bergman is ageless.

The End

watch for it!

"medals for

HOLLYWOOD

stars 99

Ralph Staub’s on-the-scene newsreel of
the famous Photoplay Gold Medal Award
Dinner featuring the winners:

Ingrid Bergman

Bing Crosby

Bob Hope Esther Williams June Allyson Jennifer Jones Alan Ladd
Rita Hayworth Gregory Peck Humphrey Bogart
and other screen celebrities

A Columbia Picture Short Coming This Month To Your Local Theater

don9t miss it!

Fisherman's Feast

( Continued from page 60) dance scenes
were really something. When she did them,
every male in the studio found excuses
to be on the ‘Flamingo Road’ set.”

There was much discussion about the
varied roles they were all playing. Guy
and Rory are both in “When a Man’s a
Man” and Rhonda, also a Selznick star,
was still thrilled about having been with
Bing in “A Connecticut Yankee in King
Arthur’s Court.” Lita is in “Jungle Jim”
and Adrian in “The Last Bandit.”

Rory and Lita were discussing their
house -hunting problems when it came time
for table setting. Then Rory took over. He
knew where all the utensils were kept and
had proper respect for Guy’s rule — “don’t
M disturb the cook.” Rhonda asked for coffee,
which was definitely out. Guy drinks noth-
ing but milk, and it never occurred to him
to have a coffee pet. So it was milk for
everybody — or chilled white wine.

(tUY’S menus always are simple; one
I course only. He contends people spoil
their appetites for a meal if there are
starters. And he strongly objects to des-
serts. If the main meal is what it should
be, he insists, no one has room for fancies.

Gail Russell, Guy’s steady, popped in to
say “howdy” on the way home from the
studio, grease paint and all. She had been
finishing up scenes from “El Paso.” Gail
was too tired even to stay for a bite.
She didn’t get away too quickly, however,
to have everyone praise her on the beauti-
ful oil painting she made for Guy, which
decorated his otherwise plain walls.

After dinner the gang played quoits and
the old milk bottle and clothespin game.
Try it sometimes — it’s fun. Stand over the
milk bottle with a clothespin held to your
nose and see how many you can drop into
the bottle. It’s not as easy as it looks!

Guy’s menu was: Abalone steaks, Madi-
son salad and toasted garlic French bread.

Fried abalone: Dip each piece in an egg
beaten with a dash of salt, fry slowly in
14 lb. of butter until delicate brown on
each side, keep warm until ready to serve,
but do not dry out. Guy piles them on top
of each other with an inverted saucepan on
top to keep them warm. He says putting
i them in the oven dries them out.

Madison salad (Guy’s own concoction):
Two heads each of romaine and head let-
tuce broken into a bowl; 1 diced avocado;
two or more cold, boiled, chunked lobsters,
1 pint mayonnaise; Vz lb. grated Italian
cheese, garlic and celery salt, and salt to
taste. Toss all together at the last minute.

Garlic French bread: Guy dips thick
.slices of French bread into melted butter
into which has been added grated clove of
garlic. Toast on each side in broiler.

Guy serves family style on a simply set
table with no unessentials to clutter
things. “Come as you are,” he says, where-
upon everyone is comfortable and happy.
The End

oCiiten when
KATE
SMITH
SPEAKS

15 Minutes with Radio's' charming personality
Noon E. S. T. Monday-Friday

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( Continued from page 59) to Conn Grable
a stock broker, and his wife Lillian, she
attended one of the nicest girls’ schools,
Mary Institute, and that here in Holly-
wood, the nicest legs are attached to one
of the nicest girls.

She has dignity. She sits primly erect,
never sprawled, and her head has the
queenly poise of a well-bred bird.

The girl who married Harry is modest
as the girl who 'married Dad.

Reminded that she is the leading gilt-
edge security of the movie ticker, that she
earned fifteen million profit, without pop-
corn, for her company, that she ranks as
the world’s ninth wage-earner, she looks
pleasantly puzzled.

“It is a funny thing,” she says. “I
haven’t a shrewd bone in me. I have no
investments. I never wanted to be any-
body or to possess anything. When I
started working, I thought I could not
have a career and marriage, too. And
marriage is all I really wanted. Now I
have that. I am just a very lucky girl.”

As for being the Movie Queen Supreme,
that’s another funny thing, she thinks.

“I am the furthest possible thing from
what one should be,” she says. “I just
once would like to feel up to going to a
premiere and enjoying the bright lights.
I would like to know how it is to yearn
for a white mink and a diamond brooch,
to put them on and then go, bow gra-
ciously, speak into the mike and sign auto-
graphs. That is how a star should behave.
If I tried it, my slip would show and I
would run like a rabbit on seeing the
crowd. The truth is, I just get embar-
rassed.”

The James home is possibly the only
one in the land where the name Grable is
not heard. Mrs. James never talks of
what goes on at the studio. Daughter
Vicki, age four, calls her Mommy except
when feeling formal, out in company. Then
she refers to the mater as Betti-james.

Mommy’s career foiled to impress Vicki-
james until she saw Mommy wearing a
cowgirl outfit for scenes in “The Beautiful
Blonde from Bashful Bend.”

“Oh Mommy!” cried Vicki with excite-
ment. “Do you suppose you will get to
show at the Hitching Post?”

The Hitching Post theater in Hollywood,
showing Westerns, is patronized not only
by Vicki but by Mommy and Daddy James.

When Betty whammed Broadway in the
musical show, “Du Barry Was a Lady,”
her agent Louis Shurr whooped, “Betty
you’re sensational! Broadway never saw
anything like you.”

Betty leveled him with the blue heaven
gaze and said, “Are you kidding?”

She whammed New York, as she whams
the rest of the universe, not just because
she is an edible peach; in all her cavort-
ings she is the nice girl that the intuitive
male would like to wrap up and take home
for a wife. Also, she is a trouper. She
can do most everything and do it well.

At age three, she tootled a saxophone,
went on to trap drums and ballet dancing.
When she was five, she bowed into Holly-
wood in black face as one of a chorus line.

Her record would seem to belie her as-
sertion that she is devoid of ambition. But
this, she explains, was supplied by. her
mother, who started her in the routine
as part of her education. She leaves it to
the studio to choose her stories and handle
her career. Once asked if there was any-
thing she hankered to do, she replied: “I
do not hanker. If I just once showed a
spark of ambition it would be the crown-
ing joy of Mother’s life.”

Last year she signed a new contract
without stipulating choice of stories, hike

in pay, or privilege of working at a studio
other than Twentieth Century-Fox.

She has no secretary, no personal maid,
no business manager.

The only male complaint that has been
heard about her comes from her camera
man, “She has no vanity.”

SHE works fifteen weeks on a picture
where a drama actress works but ten. In
addition to the shooting schedule, she
works out her dance routines in- rehearsal,
records her songs and stands for endless
fittings. “The harder I work at the studio,
the more I seem able to accomplish at
home,” she declares. “I clean house on
Sundays. But when the picture is finished
I have my nervous breakdown. I am no
good for anything.”

She never stops house cleaning. She is
a bom hausfrau, she asserts, and employs
but two servants — a nurse for Vicki and
the baby Jessica, and a cook.

“I am no good at artistic things but give
me pliers and I can fix the electric wiring,”
is the only boast heard out of Mrs. James.
“After all, you can’t be calling in an elec-
trician every time something blows.”

Men are so right about everything, espe-
cially Betty Grable. Girls who want to be
brides should aim to be like Betty.

She gets up at two in the morning to fix
a snack for Harry when he returns from
playing at the Hollywood Palladium. After
working all day at the studio she hops into
her- Cadillac convertible and does her
marketing. “It is important that my hus-
band and babies have the right food.”

Sundays are peaceful. No guests clutter
up the James homestead. “They would get
in the way of my house cleaning.”

When they go to. the ranch at Calabasas
for the weekend, there are no servants
around the bunkhouse. Mommy James
makes up the bunks and stirs up stuff at
the range, just like the girl who married
Dad, if Dad was lucky. “I am no Romanoff
chef but I am wholesome.”

Although Harry pays all bills out of his
income, she is economical. “I do not buy
three hundred dollar dresses. I feel right
in blue jeans but I love to dress up for
pictures, the more goop they pile on me, the
happier I get. You would expect to find me
deep in froufrou at home. I haven’t even
a bathrobe. I wear Harry’s. My mules are
all chewed up' by the dogs.”

She got a little sharp with Harry during
that moving ordeal. It seems that the very
week they were moving, Harry felt the call
of the road, and left with his band. “It’s a
funny thing,” said Mrs. James, “that you i
must leave just as we start moving.”

“Got to earn shoes for the kiddies and
Mommy,” said Mr. James, kissing Mommy
adieu. “Don’t worry. All you have to do is
call the moving people. They Will handle
everything.”

•“They will dump everything in the
middle of the floor,” said Mommy.

She was particularly nervous, at the
time, because she was playing a trigger-
happy schoolmam in “The Beautiful Blonde
from Bashful Bend,” who shoots inkwells
off pupils’ heads. Mommy is scared stiff
of' a gun, and every time she squeezed
the thing she shook all over. She shook so
hard, she avers, that an inkwell fell off
from her vibration before she had taken
aim. This so unnerved her, she had to call ■
for a doughnut and coffee, her mid-mom- i
ing restorative.

“You discover things about your husband
you didn’t know before, when you start
packing his things,” observed Betty. “1 I
never knew that he was a baseball hoarder, i
I found baseballs in his coats, in his shoes I
in shirts, neckties, hats. And baseball j
uniforms. I knew Harrj^ was a baseball j
fan, but I didn’t know he asked his idols I
for their uniforms instead of autographs

“I care nothing for clothes but Harrj j
really loves them. There were suits, suits 1
suits, all neatly hung and stuffed with J
baseballs, and rubber bands, and match i
packs.” She also had to pack Vicki’: j
dresses and toys innumerable.

“Every time I tried to throw something j
away, Vicki would cry, ‘Oh Mommy, that i: j
the only thing I really love.’

“Vicki,” said Mommy, “is a hoarder liks
her father.”

When Harry, the hoarder, telephones :
from a safe distance to ask how thing: 1
were going, his distracted wife said, “Don’ !
you dare buy another thing, Harry James.’ i

“No mam,” said Harry James. Next daj ,
he called again. “I had to buy a pair o
shorts. May I bring them home, dear?”

“Well — all right,” said Betty.

Her mood had softened. She had beei
packing the only things she hoards— hi
letters to her..

The End

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Thursday, 8:30 p. m., E.S.T.

A famous husband and wife team were
doing a torrid love scene for a new movie.
A set visitor was curious. “How,” she
asked, “can they kiss so passionately when
they’ve been married so long?”

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director. “The only time they see each
other is when they’re working in a picture
together.”

* * *

Overheard: “She cried wolf so often
she finally got one.”

* * *

Sign outside a Hollywood night club:
“Try our shoestring cocktail. Two drinks
and you’re fit to be tied.”

* * *

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in a sitter for your wife?”

* * *

That sequel to “The Jolson Story” is
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* * * .

Overheard: “When a woman gets coy
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weighs a hundred and plenty.”

* * *

Introducing Carmen Miranda to his radio
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* * *

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things of interest. A penguin was working
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* * *

When Rene Hubert heard that Lana
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mansion, he cracked: “Yeah, and he’ll
probably have automatic caviar machines
in place of popcorn.”

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( Continued from page 65) “one could
hardly go around Hollywood these days,
without tripping over Lawford’s long legs.”
Peter does have long legs, but he did not
mean them to present an obstacle course
to anyone.

Not only is Peter criticized for his seem-
ing aloofness. Ironically enough, another
faction criticizes him for not displaying
proper discrimination in his choice of as-
sociates. ' This faction finds it hard to
correlate his Bond Street appearance with
a barrel house sense of humor that in-
spires him to put on blackface and join
his favorite entertainers in a free floor
show. Or to go all out for a gag, as he
did when the staid citizens of Philadelphia
discovered that the explosion that came
from a focal hotel room was Peter, substi-
tuting firecrackers for the more accepted
medium of an alarm clock to awaken a
friend.

BUT for the love of Pete — what is he really
like — this popular box-office favor-
ite, who is “too plutocratic,” “too demo-
cratic,” “too stuffy” and “too gay”? Un-
questionably, he is Hollywood’s most mis-
understood star. And his few" very close
friends — and this writer — believe he should
be known as he- really is.

A society matron who gets politely “how-
do-you-do-ed” at a party, rescues her
lorgnette later from the breeze Pete
creates as he jitterbugs by. The long row
of conservative British tweeds in his ward-
robe closet must shudder a little, looking
out upon the wide-striped maroon and
gray wallpaper in his ultra-modern bed-
room. Autographed pictures of the King
dnd Queen of Belgium, the Duke of Wind-
sor and the King and Queen of Sweden,
that reign from the mantel of the more
formal living room, look back at walls
Pete insisted upon having painted a deep
modern gray. His mother teasingly tells ,
him the most modern mortuary wouldn’t
be caught dead with them.

Peter’s pride in Princess Elizabeth’s
baby was so great, he called home re-
peatedly the night he was born, to give
his parents the latest communiques and
assure them, “They’re both all right.” He
has carefully saved all the papers with
pictures of the Princess and her first-born.

On the other hand, he devotes equal
attention to the child of an American pal.
It must have amused his host at a “veddy”
social shindig to see Pete carefully cutting
down clusters of balloons floating on the
ceiling, as he inquired politely, “You don’t
mind, old boy, do you? They’re for Don-
elda.” And Pete’s Cadillac convertible
breezed away, flying the balloons to the
modest home of Charlie Dunn, a chemical
engineer and. ex-Marine and father of
four-year-old Donelda.

Fundamentally, Pete has not changed in
the six years he’s shot to fame. His most
noticeable change is the acquisition of a
mustache grown for his role in “Storm over
Vienna,” which got a quizzical look from
Pete when he looked in the mirror. “This
will do it. This will really do it,” he thought,
referring to those who think him a snob.

He lives with his parents, Sir Sydney
and Lady Lawford, in a two-bedroom
white bungalow on the swankier end of
Sunset Boulevard. There’s a gardener and a
French maid who is devoted to “Mon-
sieur Pierrot.” Pete, always neatness
itself, keeps his valued trinkets sorted
carefully in jewel boxes on his desk, the
many glass banks he fills with pennies for
the “March of Dimes” drive filed neatly
away in drawers, and still does the polish
job on the long line of gleaming shoes
and the loafers he so loves.

Today, his favorite haunts are Roman-

off’s and Mocambo, instead of the Palla-
dium of a few years back. He’s switched
from Count Basie to Dizzie Gillespie. He 1
still takes tea instead of coffee in the morn- I
ing. He’s still always on the phone. Still 9
flings himself down on the handsome mod- jj
em divan in the “gray” living room as he ij
did on the sofa that sagged in the little white j
house they had before Pete’s fortunes rose. <i
He has a Cadillac now instead of a Ford,
but on a rare day off, he still drives it in ,
the direction of Sorrento, the public beach j
he frequented when he worked as an (
usher in a theater in Westwood.

Pete would say his most major change j
is, “I’m not as easily impressed by people I
as I used to be. I used to be a little awed ij
by people I’d heard about and hadn’t seen, i
by my studio, by everything. Although )
I’m still plenty awed by Laurence Olivier i
and Montgomery Clift. I am looking for- j
ward to meeting Montgomery Clift. I never ]
have,” he adds with Pete’s typical fan-like j
enthusiasm for those he admires.

He is plenty tired of polishing a draw- i
ing room in pictures. His eager dream a
is to play a part like Robert Montgomery’s I
in “Night Must Fall,” or a part in any I
documentary, particularly a role like Mark j
Stevens’s in “The Street with No Name.” j
“I don’t want to play a complete rough- j
neck, a ‘dem’ and ‘dose’ guy. I wouldn’t I
be believable in that. Just real people, j
who, if cut with a knife, you could believe I
would bleed.”

PETER says his Laurie in “Little Women” I
was “all right.” It was so all right, how- ]
ever, that he netted the plum dramatic I
role of Major Twingo McPhinister in 1
“Storm over Vienna,” his first opportunity I
at sophisticated mature drama. He still I
considers “The White Cliffs of Dover” the I
best thing he’s ever done. “And it was j
such a privilege to play with Irene Dunne.” I
' “Many actors when they really arrive, I
as Pete has, get blase and bored and know- I
it— all, but not Pete,” says Chuck Walters 1
who directed him in “Easter Parade” and I
“Good News.” “With him everything is I
still fun. I think he will be most valuable I
as an actor when he matures in his middle I
thirties. Then, I believe, he will be a I
young Ronald Colman.”

Pete’s always dreaming up gags. One I
involves long-distancing some friend in ]
New York around 2 a.m., pretending he’s 1
in the Big Town and asking him to “meet I
me at the Copa right away.” His pal gets I
sleepily out of bed, cabs it to the Copa, 1
and naturally, no Pete. Two hours later I
he gets a telegram inquiring, “Good show?” I
But Peter is equally willing to play straight ]
for others. It will be his flawless British I
tweeds that get splashed with seltzer water I
when a Hollywood group visits a Veterans’ i
Hospital. “Anything to give the guys a s
laugh,” a friend says admiringly. He
often becomes an impromptu part of the I
show wherever Dean Martin and Jerry j
Lewis are playing. Night club . patrons ;
may see their favorite star, his handsome j
features camouflaged with burnt cork, <
come dancing out with four colored boys ]
in a new version of “Take-the-A-Train.” j
Peter allows himself very few close i
friends. As he explains, “One only has {
four or five real friends. The kind, who, t
if you called on them would lend you a i
thousand. That’s when you can tell,” he j
says. “Or if you called and said you’d y
just shot your father, would without ques- i(
tion offer to come right over and help you j
bury him.” It’s typical of him that his
friends come from all walks of life. Ned i
and Jock McLean; Dean Martin and Jerry
Lewis; Sid Luft, an ex-test pilot now pro-
ducing pictures; and Charlie Dunn, a
chemical engineer and an ex-Marine.

He’s quick with sympathy and under-
standing. One recent cold California night
when Pete and some friends were driving
to Malibu, they stopped at a little store
on the highway to pick up some food. As
they approached the store they noticed,
standing on the side of the road, trying to
hitch a ride, a one-legged man, wearing a
thin sweater that kept whipping around him.
When they came out, Pete asked if he could
give . him a lift to Malibu. No, the man
said, he was going further than that.
“Then can’t we take you to a bus some-
where?” insisted Pete. No thanks, he
couldn’t afford the fare. He wasn’t in a
hurry. He could wait. “Well then, may I
wish you good luck?” said Pete, stepping
in closer to shake hands with him. The
man warmed then. “Thanks a lot. Same to
you,” he said. He didn’t notice that as the
others said “Goodbye,” Pete had stuffed
a bill into his pocket. He waved at them
when they left, a happier, and though he
didn’t know it, a richer man.

As might be expected, Pete’s critics are
often women. Gals to whom he doesn’t
tumble and who, therefore, feel they’ve
been brushed off. The swiftest face -saver
is his “conceit.”

But as would also be expected, if you
know Pete, it doesn’t matter to him who
a girl is so long as she fulfills his stand-
ards of intelligence and good taste.

Janet Leigh admits she, too, once had
the wrong impression about Pete. “I
thought he had to have bright lights, night
clubs, all that sort of thing. But he doesn’t
have to have things fancy at all. He’s so
regular and such fun. Such good fun.”

Janet’s original opinion about-faced on
their first date. Because she was working
the next a.m., they decided to go to an
early movie and take some friends of
Pete’s, a married couple, along. But when
they went by to pick them up, they found
certain domestic chores had to be finished
first “and Pete pitched in and dried dishes
in nothing flat.”

Pete’s personal philosophy of life and
its living is simple. And good. Based for
the most part in his desire “not to hurt
the other fellow in any way.” Assuredly
ambitious, he would not advance a step
by . stepping on another person.

Speaking of material matters, he admits
frankly, “I’m a capitalist. Probably the
world’s poorest capitalist. But a capi-
talist. . . .”

Peter Lawford’s “capital” is himself.

The End

The week of February 20 was a big one
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( Continued from page 31) his brush with
the law with a clean skin because vast
sums of money were allotted to his defense.
This belief is not founded on fact. Bob
mortgaged his home to pay Giesler and
no one in the industry came up with a
dime to provide an easy victory for him in
the criminal court. Howard Hughes, top
man at RKO who owns his movie contract
jointly with David Selznick, offered to lend
him the money to see him through his
ordeal but Bob did not accept.

However, when the clouds were very
dark for Bob, Hughes put him to work
in the starring role in “The Big Steal.”
This did wonders for Bob’s morale. Whether
Hughes now will lose money on this pic-
ture depends upon public reaction to Bob
after he has served his jail sentence. Pro-
duction on “The Big Steal” has, of course,
been halted until Bob is again available.
Executives of the RKO studios sought to
have the sentence postponed for approxi-
mately three weeks so that Bob might
complete his role of a federal agent — but
without success.

WHEN Judge Clement D. Nye sentenced
Bob to sixty days in jail and a two-year
probationary period he said: “I cannot
overlook the responsibility that you, Mr.
Mitchum, have to hundreds of thousands
of young Americans who idolize you. You
have worked yourself up to a position of
prominence in the motion picture industry.
Up to now this has meant nothing but glory.
But you may have overlooked the responsi-
bility which goes with this prominence.”

I talked with Bob the day after he
pleaded guilty to a charge of conspiracy
to violate California narcotics law. While
he awaited his sentence, finally passed on
February 9th, he was back at work at
RKO. He didn’t have much to say about
hfs troubles, but he did tell me he worried
about the way in which his disgrace will
affect the lives of his children, Josh, seven,
and Christopher, five.

“The kids idolize me,” he said wistfully.
“It’s going to be a shock to them to realize
that I was capable of doing anything
wrong. I wonder how I could have ever
forgotten that everything I do in this world
will reflect in some way on them. You just
don’t think about the responsibility you
have to your children until something like
this happens. I guess lots of fathers are like
me, just happy-go-lucky fools who think
too much about their own pleasures.”

While folks are considering Mitchum, it
might be well to remember that some of
the ancients of show business, who have
long been revered by club women, edu-
cators and such, had a few raps on them.
Shakespeare, for instance, had to be put
under bonds to keep him from slitting the
throats of a couple of his enemies who
were threatening to do likewise to him.

Recently, I read of the time Ben Jonson
got dead drunk and was wheeled up and
down the streets of London in a pushcart
by one of his pupils, the eldest son of Sir
Walter Raleigh. No one has ever refused
to enjoy the works of these great men be-
cause their conduct was not to be emulated
by the youth of their time. Jonson ’s bust
is in Westminster Abbey.

If Bob’s career and life are wrecked,
Hollywood must assume a great share of
the responsibility. When I first met the
actor, he had just come into prominence
by his fine acting in “G.I. Joe.” His mush-
room growth to fame upset his balance.

He was hiding his sense of inadequacy
behind a curtain of braggadocio, designed
to impress me, as we sat eating lunch at
Lucey’s restaurant.

After listening to him for a while, I
told him to be himself. I explained that I

hadn’t expected to meet an intellectual
giant. But that after seeing him portray,
with such sincerity and understanding, the
role of an Army officer deeply concerned
with the death and destruction confronting
the men he was commanding, I was certain
that I would find him a guy with an honest
approach to life and therefore interesting.

“You know,” he told me, “I thought I
had to put on an act for you. I couldn’t see
how you would find anything to write
about in a dumb cluck like me. I never
amounted to much. I really can’t even act.

“All this that is happening to me is an
accident. I just happened to get a part in
a good picture and a role I could handle.
It was right down my alley. If the com-
bination hadn’t been all to the good, I
would have been an awful flop. Every time
I go before the camera I get a sinking
sensation.”

I think these remarks are a key to the
character of Mitchum. He has always had
to sell himself on the notion that he was
good in order to keep up the pace and run
his race.

Unfortunately, around Hollywood, there
are always a lot of evil characters ready
to attach themselves to men and women
like Mitchum, who jump into the big
money before they learn how to handle
themselves. Fine words of praise drip from
the mouths of these barnacles if they see
a chance to do themselves some good.
They give their victims the build-up.

It happened a long time ago to an actor
named Wallace Reid and an actress named
Barbara LaMarr and it’s happened over
and over again through the years to other
actors and actresses. The wrecks of these
bubbling young people clutter up Holly-
wood’s backyard.

The great indictment must be served on
the producers who hire these boys and
girls and pay them huge sums of money
without ever raising a finger to help them
take the leap from obscurity into the
dazzling glare of fame.

It is customary in Hollywood to revamp
a promising young player’s hair, teeth,
figure, clothes and speech. But nothing is
ever done to revamp the mental attitude,
or give them the spiritual fortitude to
withstand the temptations heaped around
a boy or girl who suddenly finds himself
or herself earning thousands a week when
only yesterday they were lucky to have
coffee and doughnut money.

The End

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When stars like a scene-
stealer — that’s news!

THEY said Claire Trevor was a bad
woman — gun moll type. And Hollywood
proceeded to prove it. They cast her as
saloon singers, gals with a golden heart
and tarnished reputation, husband snatch-
ers and murderesses of 57 varieties.

This was fine with Claire until she
realized that her son Charles, age five,
might some day want to see “what Mommy
does.” It was then she rebelled and notified
the studios that she was going to be a
“good girl.”

The studios didn’t seem to relish thal
idea. For eighteen months Claire was
unemployed. She tried for a comeback on
Broadway in “The Big Two” which lastec
a big two weeks. Then Rosalind Russell
offered her a noble role in “The Velve!
Touch.” Finally Hollywood saw things hei
way and cast her as sterling characters ir
“The Babe Ruth Story” and “The Luckj
Stiff.” She was dead set on remaining or
the straight and narrow path until she wai
offered the role of Gay in “Key Largo.” I

dramatic fling since her favorite picture
“Stagecoach,” it provided a hit reunioi
with Bogart and Robinson. These threi
appeared together ten years ago in “Th<
Amazing Dr. Clitterhouse.” This time
however, both boys sat back in admiratioi
while Claire stole big hunks of scene fron
under their noses.

The “Largo” incident was the secon<
time a broken resolution proved a boon
for Claire. When she entered Columbi;
University at seventeen, she was deter
mined that nothing would sway her fron
her intended career as a commercial artis
But someone gave her a folder from th
American Academy of Dramatic Art:
It fascinated her. And it wasn’t too Ion
after this that she was featured on Broad
way in “Whistling in the Dark.” Then i
1933, after her second Broadway play, sh
was ready for the film contract she ha
refused the year before.

In Claire’s personal life, broken resolu
tions haven’t proved so successful. Afte
an unhappy teen-age romance, she vowe
to steer clear of romance. But she met an
married Clark Andrews. When this mar
riage and a later one to Cy Dunsmooi
ended in divorce, she again resolved ni
to love again. She didn’t count on meetin
producer Milt Bren whom she marrie
last November.

was a once in a lifetime part— strictlj
Academy Award stuff and she couldn’
turn it down. Aside from it being her bes

100

Casts of Current Pictures

ALIAS NICK BEAL — Paramount: Nick Beal, Ray
Milland; Donna Allen, Audrey Totter; Joseph Foster,
Thomas Mitchell; Rev. Thomas Garfield, George
Macready; Frankie Faulkner, Fred Clark; Larry
Price, Darryl Hickman; Judge Hobson, Henry
O’Neill; Martha Foster, Geraldine Wall; Karl, Nestor
Paiva.

ANGEL IN EXILE — Republic : Charlie Dakin, John
Carroll; Raquel Chavez, Adele Mara; Dr. Esteban
Chavez, Thomas Gomez; Max Giorgo, Barton Mac-
Lane; Y sidro Alvarez, Alfonso Bedoya; Sheriff, Grant
Withers; Carl Spitz, Paul Fix; Ernie Coons, Art
Smith; Warden, Tom Powers; Health Officer, Ian
Wolfe; J. IT. Higgins, Howland Chamberlin; Car-
mencita, Elsa Lorraine Zepeda; Nurse, Mary Currier.

BAD BOY — Allied Artists: Marshall Brown , Lloyd
Nolan; Mrs. Marshall Brown, Jane Wyatt; Danny
Lester, Audie Murphy; The Chief, James Gleason;
Bitsy, Stanley Clements; Lila Strawn, Martha
Vickers; Arnold Strawn, Rhys Williams; Ted Hen-
dry, James Lydon; Charlie, Dickie Moore; Judge
Florence Prentiss, Selena Royle; Floyd, Tommy Cook;
Joe Shields, William Lester; Texas Oil Man, Walter
Sande; Sheriff Wells, Stephen Chase; Doctor Fletch-
er, Charles Trowbridge; Mr. Pardee, Francis Pierlot.

COMMAND DECISION— M-G-M: Brig. Gen. K. C.
“Casey” Dennis, Clark Gable; Maj. Gen. Roland
Goodlow Kane, Walter Pidgeon; Tech. Serg. Im-
manuel T. Evans, Van Johnson; Brig. Gen. Clifton I.
Garnet, Brian Donlevy; Elmer Brockhurst, Charles
Bickford; Col. Edward Rayton Martin, John Hodiak;
Cong. Arthur Malcolm, Edward Arnold; Capt. George
Washington Bellpepper Lee, Marshall Thompson;
Maj. George Rockton, Richard Quine; Lieut. Ansel
Goldberg, Cameron Mitchell; Maj. Homer V. Pres-
cott, Clinton Sundberg; Maj. Desmond Lansing, Ray
Collins; Col. Earnest Haley, Warner Anderson; Maj.
Belding Davis, John Mclntire; Cong. Stone, Moroni
Olsen; James Garwood, John Ridgely; Capt. Lucius
Malcolm Jenks, Michael Steele; Cong. Watson, Ed-
ward Earle; Lieut. Col. Virgil Jackson, Mack Wil-
liams; Maj. Garrett Davenport, James Millican.

CONNECTICUT YANKEE IN KING ARTHUR'S
COURT, A — Paramount: Hank Martin, Bing Crosby;
Sir Sagramore, William Bendix; King Arthur, Sir
Cedric Hardwicke; AH sande La Carteloise, Rhonda
Fleming; Merlin, Murvyn Vye; Morgan Le Fay, Vir-
ginia Field; Sir Lancelot, Henry Wilcoxon; Sir Gala-
had, Richard Webb; Sir Logris, Joseph Vitale; High
Executioner, Alan Napier; Lady Penelope, Julia Faye.

COVER UP — UA: Larry Best, William Bendix; Sam
Donovan, Dennis O’Keefe; Anita Weatherby, Bar-
bara Britton; Stu Weatherby, Art Baker; Bessie
Weatherby, Helen Spring; Cathie Weatherby, Ann
E. Todd; Hilda, Doro Merande; Margaret Baker,
Virginia Christine; Frank Baker, Russell Armes;
Gabe, Dan While; Mr. Abbey, Paul E. Burns; Mrs.
Abbey, Ruth Lee; Blakely, Emmet Vogan; Editor,
Jamesson Shade; Mayor, Henry Hall; Addison, Jack
Lee; Undertaker , Worden Norten; Boy, George Mac-
Donald.

FAN, THE — 20th Century-Fox: Lady Windermere,
Jeanne Crain; Mrs. Erlynne, Madeleine Carroll; Lord
Darlington, George Sanders; Lord Windermere,
Richard Greene; Duchess of Berwick, Martita Hunt;
Cecil Graham, John Sutton; Lord Augustus Lorton,
Hugh Dempster; Mr. Hopper, Richard Ney; Lady
Agatha, Virginia McDowall; Dawson, Hugh Murray ;
The Jeweler, Frank Elliott; Hoskins, John Burton;
Auctioneer, Trevor Ward; American Girl, Patricia
Walker; Underwood, Eric Noonan; Maid, Winifred
Harris; Philippe, A.lphonse Martell ; Rosalie, Felippa
Rock; Tailor, Colin Campbell; Messenger, Terry
Kilburn; Mrs. Rudge, Tempe Pigott.

FAR FRONTI ER, THE — Republic: Roy Rogers,
Roy Rogers; Susan Hathaway, Gail Davis; Judge
Cookie Bullfincher, Andy Devine; Alf Sharper, Fran-
cis Ford; Bart Carroll, Roy Barcroft; Tom Sharper,
Clayton Moore; Willis N ewcomb, Robert Strange;
Rocco, Holly Bane; Butch, Lane Bradford; Rollins,
John Bagni; Defendant, Clarence Straight; Sheriff,
Edmund Cobb; Foy Willing, The Riders of the Pur-
ple Sage and Trigger.

FLAXY MARTIN — Warners: Flaxy Martin, Vir-
| ginia Mayo; Walter Colby, Zachary Scott; Nora Car-
son, Dorothy Malone; Sam Malko, Tom D’Andrea;
Peggy, Helen Westcott; Hap Richie, Douglas Ken-
nedy; Roper, Elisha Cook Jr.; 1st Detective, Douglas
I Fowley; 2nd Detective, Monte Blue; Caesar, Jack
Overman.

FORCE OF EVIL — M-G-M: Joe Morse, John Gar-
field; Doris Lozvry, Beatrice Pearson; Leo Morse,
Thomas Gomez; Ben Tucker, Roy Roberts; Edna
Tucker, Marie Windsor; Fred Bauer, Howland Cham-
| berlin; Hobe Wheelock, Paul McVey; Juice, Tack
1 Overman; Johnson, Tim Ryan; Mary, Barbara Wood-
! ell; Bunty, Raymond Largay; Wally, Stanley Prager;

Frankie, Beau Bridges; Badgley, Allan Mathews;
i Egan, Barry Kelley; Ficco, Paul Fix; Mrs. Morse,
Georgia Backus; Tzvo and Two, Sid Tomack.

KNOCK ON ANY DOOR — Columbia: Andrew Mor-
ton, Humphrey Bogart; Nick Romano, John Derek;
District Attorney Kerman, George Macready; Emma,
Allene Roberts; Adele, Susan Perry; Vito, Mickey
Knox; Judge Drake, Barry Kelley; Nelly, Cara Wil-
liams; Kid Fingers', Jimmy Conlin; Jimmy, Sumner
Williams; Squint, Sid Melton; Juan, Pepe Hern;
Butch, Dewey Martin; Sunshine, Robert A. Davis;

ONE NEGLECT THAT
CAN BE STRONGER
THAN LOVE...

Chains of intimate physical
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TOO often . . . too frightfully often . . .

the romance and tenderness of mar-
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This neglect makes a wife unsure of her
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succeeds in causing trouble between her
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Far too many wives are guilty of this
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Appealing daintiness is assured, because
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give correct douching solution. Many doc-
tors advise their patients to douche regu-
larly with “Lysol” brand disinfectant, just
to insure daintiness alone, and to use it as
often as they need it. No greasy aftereffect.

Three times as many women use ‘ ‘Lysol’ ’
for intimate feminine hygiene as any
other liquid preparation! No other is more
reliable. You, too, can rely on “Lysol” to
help protect your married happiness . . .
keep you desirable!

For complete Feminine
Hygiene rely on . . .

A Concentrated
Germ-Killer

NEW.'. ..FEMININE HYGIENE FACTS!

FREE! New booklet of information by repu-
table gynecological authority. Mail coupon
to Lehn & Fink, 192 Bloomfield Avenue,
Bloomfield, N. J.

State -

Copr. , 1949 by Lehn &FinkProducts Corp.

101

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Junior, Houseley Stevenson; Bartender, Vince Bar-
nett; Officer Hawkins, Thomas Sully; Aunt Lena,
Florence Auer; Purcell, Pierre Watkin; Carey, Gor-
don Nelson; Ma Romano, Argentina Brunetti; Julian
Romano, Dick Sinatra; Ang Romano, Carol Coombs;
Maria Romano, Joan Baxter.

LIFE OF RILEY, THE— U-I: Chester A. Riley,
William Bendix; Gillis, James Gleason; Peg Riley,
Rosemary DeCamp; Sidney Monahan, Bill Goodwin;
Miss Bogle, Beulah Bondi; Bahs Riley, Meg Randall;
Jeff Taylor, Richard Long; Junior Riley, Lanny Rees;
Burt Stevenson, Mark Daniels; Norman, Ted de
Corsia ; “Digger” O'Dell, John Brown; Lucy Mona-
han, Victoria Horne; Carl Stevenson, William E.
Green.

M I RAND A — Rank-Eagle Lion: Miranda, Glynis
Johns; Clare Marten, Googie Withers; Paul Marten,
Griffith Jones; Nigel, John McCallum; Nurse Cary,
Margaret Rutherford; Charles, David Tomlinson;
Betty, Yvonne Owen; Isohcl, Sonia Holm; Inn Land-
lord, Lyn Evans; Cockle stall keeper, Maurice Den-
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Manell, Brian Oulton; ManclTs secretary, Zena
Marshall; Museum attendant, Stringer Davis; Rail-
way carman, Hal Osmond; 1st Man at stall, Charles
Rolfe; 2nd Man at stall. Charles Paton; Stage mana-
ger, Charles Penrose; Commissionaire, Frank Web-
ster; Nigel’s landlady, Toni McMillan; Opera
waitress, Thelma Ray; Prima donna, Joan Ingram;
Lift boy, Gerald Campton.

PORTRAIT OF JENNIE — Selznick: Eben Adams,
Joseph Cotten; Miss Spinney, Ethel Barrymore;
Mr. Matthews, Cecil Kellaway; Jennie Appleton,
Jennifer Jones; Mrs. Jekes, Florence Bates;
Mrs. Bunce, Esther Somers; Gus O’Toole, David
Wayne; Mr. Moore, Albert Sharpe; Policeman , John
Farrell, Old Doorman, Felix Bressart; Clara Morgan,
Maude Simnions; Mother Mary of Mercy, Lillian
Gish ; Captain Caleb Cobb, Clem Bevans; Another Old
Mariner, Robert Dudley; Eke, Henry Hull.

ROSE OF THE YUKON — Republic: Maj. Geoffrey
Barnett; Steve Brodie; Rose Flambeau, Myrna Dell;
Tom Clark, William Wright; Tim MacNab, Emory
Parnell; Gen. Butler, Jonathan Hale; Jack Wells,
Benny Baker; Frenchy Frenay, Gene Gary; Doc
Read, Dick Elliott; Alaskan Men, Francis McDonald,
Wade Crosby; Eskimo Girl, Lotus Long; Capt. Ros-
so ff, Eugene Sigaloff.

TARZAN’S MAGIC FOUNTAIN— RKO: Tarzan,
Lex Barker; Jane, Brenda Joyce; Gloria James,
Evelyn Ankers; Trask. Albert Dekker; Dodd, Charles
Drake; Jessup, Alan Napier; Vredak, Henry Kulky.

WAKE OF THE RED WITCH— Republic: Captain
Ralls, John Wayne; Angelique Desaix, Gail Russell;
Sam Rosen, Gig Young; Teleia Van Schreeven, Adele
Mara; May rant Ruysdaal Sidneye, Luther Adler;
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Henry Daniell; “Ripper” Arrezo, Paul Fix; Captain
Munsey, Dennis Hoey; Mr. Loring, Jeff Corey;
Dokter Van Arken, Erskine Sanford; Ua Nuka,
Duke Kahanamoku.

WOMAN’S SECRET , A — RKO: Marian Washburn,
Maureen O’Hara; Luke Jordan, Melvyn Douglas;
Susan Caldwell, Gloria Grahame; Lee, Bill Williams;
Brook Matthews, Victor Jory; Mrs. Fowler, Mary
Philips; Fowler, Jay C. Flippen; Roberts, Robert
Warwick; Doctor. Curt Conway; Mrs. Matthews,
Ann Shoemaker; Me llie, Virginia Farmer; Nurse,
Ellen Corby; Desk Sergeant, Emory Parnell.

Van Heflin and Janet Leigh co-star for
first time in dramatic “Act of Violence”

AIR. WAYS

An actor, even before a mike, Burt Lan-
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103

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The Clift Story

( Continued, from page 38) Monty, too.
They didn’t even have a name ready for
him. Dr. Montgomery was a close friend of
the family — and the new son got his name.
(It’s led to many complications — the star
has had trouble convincing hotel clerks
in Europe that it isn’t Clift Montgomery.)

Monty’s birthplace was Omaha but he
got away from there when he was nine
months old. He remembers nothing about
it — but he also remembers, he says, prac-
tically nothing of all the other places the
family lived: Great Barrington, Highland
Park (Long Island), New York and Flor-
ida. What’s been left over from it is a
gypsy quality, a love of travel that makes
him want to keep on the move, that lets
him take off at the drop of a ticket for
Rome, Cuba, any place where he has a yen
or an excuse to go.

A LITTLE while ago, just after he finished
“The Heiress,” he took off for a more-
than-3, 000-mile junket to Switzerland.
He planned to stay exactly a week! But
then decided to prowl on, got as far as
Israel. Then he got a cable — and, very
obediently, he dashed back for a one-day
retake on “The Heiress.”

“Actually,” Monty says about his wan-
dering family, “we were always sort of
high-class hoboes. We did all that moving
because we had something to do with
banks.”

He has never gone to a public school,
or even to private schools very much;
but has picked up lessons here and there.
His brother and sister always wanted to
go on to college, and did, but he never
bothered. “We are all completely differ-
ent,” he explains. “None of us even look
alike,” he says, “though I do bear some
vague resemblances to my mother.

“They’re all a wonderful bunch. But I
don’t want to live with any of them. You
are always tying up the phone or some-
thing if you do.”

The actor Clift you’ve been seeing and
speculating about began to emerge in
Sarasota, Florida. He got a play job, in an
amateur production of “As Husbands Go.”
It was 1933, he was now thirteen, and he
got into it very simply. He just went
around to the theater and asked them if
they might be needing any boys for any of
their shows. They said they would be, in
about two weeks and to come back.

“And that is how my pull toward acting
started,” he said. “You can even call it
an evil pull, if you want to, for in a way
it is. I mean there is a kind of compulsion
about it. I can’t stop myself. My parents
have never put any obstacle in my way,
but my father has always pointed out that
it is a completely unreliable profession
at which I might starve, and sometimes
I’ve come pretty close to that, but I must
go on with it.”

He doesn’t know why he wanted to act,
in the first place. As a kid he didn’t go
much to the movies — the first one he
ever saw was “Ben Hur” — though his
parents did take him to the legitimate
theater frequently.

He knows that everything he does, every
interest he has, leads back to his posi-
tive adoration for acting. Yet that is one
reason he doesn’t like to pal around with
other actors very much. “An actor can
learn from people in other lines of work,”
he says, “but how can he learn from
another actor?”

He doesn’t really mean what he says,
of course. If you’ll let him, he’ll rave on
for hours about Alfred Lunt and
Lynn Fontanne. He was with them in
“There Shall Be No Night,” and feels that
he learned most about acting from them.
Actually, he learned plenty from all the

^39

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people he worked with. He got to New
York in 1935 and behaved like thousands
of stage-struck juveniles have always
behaved.

He had a part in “Fly Away Home,”
which had Thomas Mitchell as its star.
From then on, he had the fever of haunt-
ing casting offices, spending days in the
Broadway drugstores with all the other
young hopefuls. But Monty was hitting
the glory road and, although he some-
times had to live on unemployment com-
pensation, he never changed his mind.

When, eight years ago, he was fired
out of the original company of “Life with
Father,” he thought his life was over. He
was supposed to play the seventeen-year-
old son, the one Richard Ney finally
played. He was ready to dye his straight
brown hair red, and curl it. But they let
him go. “I thought it was the end of my
career,” he says now. “I knew I’d never,
never work again.”

He was, obviously, very wrong. He had
good parts with the Lunts, with the
Marches, with such people as Tallulah
Bankhead in “Skin of our Teeth.” And
his favorite role was that of the boy in
“Our Town,” with Martha Scott.

Then he began growing up. And, in one
way he was lucky. During the war, the
theater, like Hollywood, starved for good
juveniles. A nasty tropical disease he had
picked up in Mexico made Monty a 4-F.
His strange, romantic detachment began
to project across the footlights in such
things as “You Touched Me.”

Hollywood began to woo him seriously
when he showed up in playwright Elga
Shelley’s “Foxhole in the Parlor,” the first
one in which he was a leading man in his
own right.

The publicity men on “Foxhole,” realiz-
ing they had a potential matinee idol on
their hands, decided to give Monty a
build-up. Their first effort in that direc-
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Monty Clift was the hottest thing in New
York. The only trouble was that the day
the advertisement appeared in all the
metropolitan dailies, the temperature of
the city hit an all-time high.

The next mistake they made occurred
when they went to the trouble and ex-
pense of hiring a “professional theater
claque.” These are people who hire them-
selves out to applaud and make a fuss over
a performer in a play, at so much per
head.

The “Foxhole” press agent hired fifty
of these types, and had them wait outside
the Barrymore Theater. Monty was let in
on the stunt and was told they would go
into a frenzy of adoration when he came
out. Cameramen would be there to record
the scene for posterity, as well as for the
New York papers, and Mr. Clift would
be put across in a big, big way.

Monty meant to cooperate but he
couldn’t quite take it at the final moment.
When the curtain fell that afternoon, he
dashed out of the theater, his coat jacket
turned up to hide his face, rushed through
the throng and disappeared down 47th
Street. The claque obediently waited until
the stage doorman told them Monty had
been gone for an hour.

MONTY remembers another story about
“Foxhole.” One hot midsummer night,
during its run, the stage manager noticed
that the theater was very warm, despite
the fact that it was air-conditioned. A
little investigation revealed that the air-
conditioning had been turned off at Mr.
Clift’s request.

“I’m sorry,” Monty explained, soaking
with perspiration,. “but the noise from the
cooling machine was distracting me from
my portrayal.”

He can laugh about that now. He says
he has acquired more sense, and isn’t
nearly so self-centered. “It was just be-
cause I want to be the best actor I can
be,” he said. “You see, when it comes to
acting. . . .”

Producer Howard Hawks talked him
into leaving Broadway for Hollywood.
Monty liked him and liked the idea of
“Red River.” Back in the summer of 1942,
he came out to northern California to
work as a ranch hand. (He giyes as his
reason his desire to learn about different
kinds of people — he knew the New Yorkers
and Easterners by now.) He “rode fence,”
going around on horseback to repair fence
breaks, and laid eight-inch pipe. It was a
hard laboring, outdoor, physical life. And
he learned plenty.

Among other things, despite the stories
to the contrary, he did know how to ride
when he went into “Red River.” There
were a few tricks, though, that he hadn’t
picked up. ’One was the little leap the
real cowboys make as they hop into the
saddle. He spent days trying it until,
finally, he had mastered it.

His best friend on that production, out-
side of Hawks, was Noah Beery Jr.,
“Pidge,” to his friends. “Oh,” Monty says,
“I liked the whole company very, very
much.

“But Pidge is such a real Westerner,
knows so much about horses and riding
and all that, that I could learn the most
from him. We used to get up before
dawn with the cowboys and go out on
the remuda. (A remuda is a kind of
round-up.) I’m usually a late-to-bed,
late-to-rise type, but that country around
Tucson, Arizona, was about the most
beautiful I’ve ever seen, particularly at
sunrise. The town where we stayed had
a normal population of twenty-four, most-
ly cowhands. It was perfect.”

Monty confessed how he was afraid of
his part in “Red River.” “I didn’t think I
was physically right for it,” he says. “I

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106

still don’t. I didn’t believe I could stand
up to a man as big as John Wayne, but
I liked the story so much, and Hawks
would give me the kind of contract I
wanted, so finally I agreed to it.”

The kind of contract he wants is one
that leaves him free to go between stage
and screen at will, to have absolute say-
so on his scripts, and not to be bound
down to any one place. That’s the kind
of contract he gets, with one exception,
and that was on “The Search.” Right from
the initial reading of the script he felt he
was right for “The Search.” The only
thing he insisted upon was that the GI be
played a little tough and irritable in
manner. His unfailingly correct dramatic
instinct told him that such an approach
to the character would not only make it
stand out, but also be an effective counter-
balance to the necessary sentimentality of
the story. Before signing up, he discussed
his ideas, and was told not to worry: He
could play the role any way that suited
him.

It didn’t work out that way when he
got to location abroad. There he was told
that he would play it as he was directed,
or else. And that was when management
got their surprise. Because Mr. Clift gave
them the “or else” treatment right back
again. His contract on the picture was
for only six weeks, which they forgot,
but he didn’t. To their remarks that there
was nothing on paper to bind them to
letting him play the part as he desired,
he 'retorted, at the end of six weeks, that
there was nothing on paper to make him
finish the picture.

It brought them to terms, naturally.
Two of the most important scenes were
shot thereafter — in particular, the one
where Monty buys the little boy his shoes,
and he played them as he had wanted to
play them.

The point of all this is that he hadn’t
argued over footage or close-ups or any of

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the things that a pure “ham” would fight
for, but where his artistic conscience gets
involved, he fights until he wins.

It was a good fight because “The Search”
was not only a great picture but it also
established Monty as the most comet-like
male in Hollywood. It was with a huge
amount of glee that he signed for “The
Heiress.” Everybody on the production
shared that glee.

Director William Wyler’s enthusiasm
for Monty is great. As an example of the
Clift character and drive, he tells the
story of the French song: The Clift role
in “The Heiress” is a kind of a heavy.
He’s playing a charmer who makes love to
a girl because he wants to marry her for
her money. One scene has him making
love to her by way of singing a little
song in French, while playing his own
accompaniment.

IV OW, Mr. Wyler had fully expected to
II shoot that scene in the usual trick fash-
ion: Monty would be seated at the piano,
but you would never see his face and his
hands on the keyboard at the same time.
Somebody else’s hands would be there,
somebody else’s voice would be on the
sound track and Mr. Clift would then go
to work in the close-ups.

Only it didn’t work out that way. “I
want to do my own singing,” said Monty.
“I don’t sing well, but this chap prob-
ably wouldn’t either. I can at least carry
a tune.”

“But can you speak French,” asked
Wyler, “and can you play the piano?”

“No, but I can learn,” said Mr. Clift.

“The Heiress” was shot in mid-June
when the temperature on the Paramount
lot was boiling. Yet every night, no mat-
ter how long the day’s work had been,
Monty trotted off for his music lessons.
The company closed down the evening of
July 3rd, in anticipation . of the holiday.
Only Mr. Clift turned up on the lot on
the Fourth, borrowed a piano and sang
and played all day. Not that he likes the
sound of his own voice. He is a great
record collector and Bing Crosby is his
idea of what a singer should be. But
since a part he was playing demanded
that he sing — sing he would.

Wyler remembers the stories he heard
about Monty when he was in “You
Touched Me,” on Broadway, when he
had to produce other sound effects. In one
scene he had to play a flute. Before he
went to rehearsals, he scarcely knew one
end of the flute from the other. By the time
the show opened, he was not a bad flutist.

The second sound effect in the same
play was much more difficult. He had to
pretend, for some plot point, to be a
Pekinese. He started by getting records
of Pekes barking. Then he coached with
a famous radio animal-impersonator.

“You see,” said Mr. Wyler, “Monty is
determined to be a great actor.”

Monty’s lawyer is another expert who
has unusual admiration for him.

“I don’t know a thing about his private
life,” he explains. “But let me tell you
this. He is a gentleman, who keeps to
his work. He has the old ‘Crafts’ attitude
toward his profession, in that he wants it
to be perfect for its own sake. Money
holds no temptation for him whatsoever.
That’s why he won’t sign with any one
company, though he could sign, and at his
own terms, with any organization in the
business. And I will tell you one thing
that is almost unique in my experience.
He was sent to me to ask for advice. I’m
paid to give it to him and I do give it
to him. But what makes him stand out is
that he takes it. He takes it without any
question and he acts upon it without any
question. Rare and wonderful, that.”

His compulsion to master everything

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he’s interested in is incredible. He got
acquainted with Switzerland when he
made “The Search,” and flew back when
“The Heiress” was finished, to take up
skiing. (Incidentally he speaks German
with ease now, because of the six weeks
he spent there on “The Search.”) So, on
his trip, the Swiss gave him a bronze
medal for skiing. “Meaning I can snow-
plough and walk straight ahead,” he says
mockingly. From Switzerland he went
down into Israel and he raves about that
new country. “Imagine,” he says, “it is
the first new state since America was
born, and it is as raw and rough as I
suppose America was, at the same period.
You have never seen such types as you
encounter there, all types. Tel-Aviv is
fascinating.”

Travel, he admits, has kept him broke,
but he doesn’t care. His philosophy is
that to earn money for the sake of living
is fine, but he thinks that the accumula-
tion of money, which usually means the
accumulation of possessions, eats into
people and destroys them.

“I haven’t a dime,” he says, “my money
just goes.” Of course, he has made it go
practically around the world, usually by
airplane, since he hates wasting time on
trains or boats. In fact he hates wasting
time in any way.

BUT even when he’s traveling, he con-
fesses he doesn’t have sense enough to
keep his money in a wallet. He just stuffs
the bills in his pockets and is never sure
whether he has five dollars or five hun-
dred.

For instance, his two best friends in
New York, are Kevin McCarthy and
Augusta Dabney, stage and radio actors
who are Mr. and Mrs. McCarthy in private
life. When Monty was going through New
York on his recent trip to Switzerland,
he decided to celebrate by taking the
McCarthys to a swank dinner at a swank
restaurant.

When the bill came, Monty dug into his
pocket and came up with insufficient
funds. He tried to cash a check but
neither the head waiter nor the manager
recognized him and Monty had no
identification with him. The McCarthys
dug into their pockets but they wex-e
equally unprepared. Finally Mr. Clift
rummaged once more in his pockets and,
what had originally looked like a
crumpled scrap of paper turned out to
be a really sizable banknote. He ad-
mits, too, that this episode is a natural
result of the way he looks. Nobody is
sure whether his uniform of baggy pants,
tweed coat with worn-out elbows and
stringy tie is a pose or not. Monty him-
self says that every so often he gets the
urge to be natty. Then he goes to one of
New York’s best tailors and has some
suits made to order. “Once, I had three
suits all at once,” he says. “I took
them home and hung them in my closet.
I couldn’t bring myself to wear them,
so finally I gave them away. I guess I
don’t want to get stuck with a wardrobe
on my hands when my career is over.”

A year ago June, after the birth of
their baby, the McCarthys thought they’d
take a vacation. Monty decided to make it
a threesome and they drove to Florida,
with Monty driving at his usual pace of

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almost a hundred miles an hour. From
Florida, they went on to Cuba,, where
Monty spent all his time adding to his
education about people.

One object of his interest was a young
boy who turned out to be a former Nazi.
The loss of the war by the Germans ap-
parently hadn’t taught him a thing. He
was still convinced that the Germans
were a race supreme. To help prove it,
he insisted upon a swimming contest with
Monty who is deceptively slender-
looking. After much urging, he reluctantly
agreed to the competition. The German
boy started swimming farther out to sea.
Monty quietly kept pace. Finally the
German turned and he had a tough time
making it back to shore. Monty came
quietly in, saying nothing. But that was
the end of the superman talk.

That trip, incidentally, is an example
of Monty’s favorite pastimes.

He likes teaming up with his married
friends, like Kevin and Augusta, seem-
ingly serene in the knowledge that in his
case, at least, three does not make a
crowd. But the idea of marriage holds
no lure for him, as yet. Ask him what
type of girl he prefers and he answers:

“I can’t tell you. I like all types. I
just like girls, period.” Actually, he ad-
mits, his flight from matrimony is just the
same as his flight from contracts. He
wants to be free to hop a slow boat to
Mexico or a fast plane to India, as the
impulse hits him. And he laughs at the
idea of being lonely on these trips. “I’m
affable,” he says. “When you’re affable you
make friends easily.”

That’s one of the Clift paradoxes. He
makes friends easily but he’s not very
concerned about friendship itself. He’s not
one for long-range, involved relation-
ships. This lone-wolf, individual-stand-
ing-alone attitude explains much. He
doesn’t want anything to clutter up his
life. His apartment, which practically
nobody ever sees, consists of one room,
with a pull-down bed that squeaks. His
car is so disreputable, Paramount finally
pushed him into getting a new one. But
after a week, he gave it away and went
back to his old one.

Of course, there’s a real trick here.
Montgomery Clift can get away with it,
and knows it. He’s a thin boy. His hair
always seems to need cutting. He looks
pale. He has none of that quick, handsome
charm of Cary Grant. Or the quick dyna-
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quality, is there.

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a good actor.

Heaven help the women who fall in
love with him. Or who have undoubtedly
fallen in love with him already. Monty
is not ready to share himself with any-
body. Perhaps he never will be.

The End

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Those Screwy Romances

( Continued jrom page 43) “She’s a won-
derful girl,” he concedes. “I had dinner
with her every night last week. Then
there’s Pat Neal,” he adds unexpectedly,
completely switching his romantic trails.
“I saw her every night before she went to
London (for “The Hasty Heart”! The ex-
clamation mark is mine!) And I’m flying
to London to see her directly I finish my
movie.”

“Then it's Pat you are going to marry?”
interrupts this bewildered reporter.

“I’m not sure,” says Farley.

“But you said you were getting mar-
ried,” moans me.

“I am,” reiterates Mr. Granger. A week
later I see him giving Shelley Winters the
romantic business every night. And now
I’m going crazy! But that’s life and love
in Hollywood — especially in the spring,
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’round in the mad rush for romance.

Even hardheaded Ava Gardner — the girl
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“Mark it down as spring madness,” says
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man! The best 1 can come up with is —
“Howard Duff.” “Oh, Howard,” shrugged
Ava, “I like him, but . . .”

There never were any buts about the
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for Mr. Duff. And for quite a few other
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In the past six months, for instance, Yvonne
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followed Jerome Heinz, the Metropolitan
basso, to New York — to hear him sing, she
said. She dashed to Europe to visit with
a mystery lover in Paris. And her studio
also announced that she would visit Cor-
sica in search of a bandit whose face had
caught her fancy in Life Magazine!

an ANNIVERSARY

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During Yvonne’s last picture with Mr.
Duff, “Calamity Jane and Sam Bass,”
rumors started up again that they had
renewed the courtship. It was only par-
tially true. During the weekdays on loca-
tion in Utah, Howard made love to
Yvonne. Came Sunday and he flew the
four hundred and fifty miles to Hollywood
and back to worship at the beautiful feet
of Miss Gardner.

By the way, Ava and Yvonne are feud-
ing, but it has nothing to do with Duff.
Yvonne burned because her studio bosses
went off the lot to borrow Miss Gardner
for the title role in “One Touch of Venus.”
Maybe Yvonne would have cared less, if
Howard had cared less for Ava!

Come spring, summer, autumn or winter,
Clark Gable is most energetic in his
pursuit of the female of the species. But
it is so hard to pin him down to the point
where he will admit he is cornered and
propose! For a few minutes it looked like
Annie Sothern had the new inside edge.
She and Clark were a close twosome at
Zachary Scott’s party for his mother and
father. But when I queried Ann, “Is it a
romance?” she laughed and said, “Clark
and I are old friends.”

IRIS BYNUM, the beautiful brunette from
Dallas, Texas, was sure she had Clark
hooked for all of three weeks, last winter.
But when Arizona socialite, Mrs. Betty
Chisholm came to town, Clark parked his
fancy British car on her doorstep at the
Beverly Hills Hotel. When Betty returned
home, Clark had another date with Iris at
Ocean House, where she toils as a hostess.
But when Keenan Wynn asked Iris for a
dance, Clark walked out in a huff and
followed Mrs. Chisholm to Arizona. (I
hope you are still following me!)

Clark wants to marry — that I am told
by the beautiful blonde he usually returns
to, Virginia Grey — between his hectic ro-
mances. “But I think he will marry
someone older, someone like Mrs. Dolly
O’Brien,” says Virginia. Incidentally, when
Clark wanted to resume with Virginia
after stepping out with Anita Colby and
Mrs. Slim Hawks, the lady surprised him
and said No! She was busy. She was also
tired of functioning as a stopgap.

Howard Hughes, whose spring fever is
perpetual, also remains elusive. His ro-
mance with Jean Peters is supposed to be
dead, and yet Jean still rides to work at
Twentieth Century-Fox in Howard’s car,
driven by Howard’s chauffeur. And she
still swims in his pool. Jean isn’t talking.
And that’s like locking the stable after the
horse has left. Because it was talking that
ruined the romance. Brother, was she in
love with Howard! And she told every-
one. And Howard no likee that kind of
telling. But maybe the romance is still
going on — and maybe she will surprise us
all by capturing this very eligible bachelor.

Maybe not — says blonde, beautiful Bar-
bara Lawrence who followed Jean as
Howard’s companion in the fashionable
bistros and night clubs. “I doubt if he
will ever marry,” she told me, without
telling me what caused her to freak with
the sought-after millionaire. Nowadays,
Barbara prefers Turhan Bey who hasn’t
as much money as Howard, but who is
just as elusive when it comes to marrying
the girls.

Ditto for Greg Bautzer, the handsome
attorney. Greg has flitted from Dorothy
Lamour to Lana Turner to every glamor
star in Hollywood, including, of course,
Joan Crawford. “But I’m still friendly
with every girl I’ve ever gone with,” Greg
boasts. And he keeps most of them as his
clients, which is even harder.

Bautzer gets his girl with a well-planned
approach. For instance, when he took
Merle Oberon on their first date to the

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got there first with a small tree smothered
with big orchids for the table! The boy
is loaded with thoughtfulness. Like the
toy poodle he gave to Joan Crawford after
her beloved “Pupchen” died. And the
nightgowns, embroidered with hearts, he
gave to ail of Joan’s daughters!

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definitely seems to have turned to love
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bachelor, Jimmy Stewart. Jimmy has
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we waited for wedding bells. Ha! More
recently he had Myrna Dell on his right
arm, but he was careful to explain, “For
laughs only!” He laughed himself right
out of Myrna’s life! Now he says he’d like
to marry because he is forty-one and he
wants to settle down. Okay Gloria, the
next move is yours!

No respecter of age or sex, the fever has
also struck Janet Leigh, and we must
say she seems a willing victim. Janet used
to be such a quiet little homebody. But
nowadays, or rather nights, if you step
into Ciro’s or Mocambo, there she is, hav-
ing the time of her sweet young life with
Danny Scholl, or Peter Lawford. And in
between times, enjoying a coast-to-coast
palpitating conversation with Barry Nel-
son, the stage actor who wants to marry
Janet when her divorce is final.

Jane Powell once promised her mother
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twenty-one. Now that Janie has grown-
up, it’s getting harder all the time for her
to keep her word. It was easy enough
with her first beau, Tony Batten. Jane
met him when she was an adolescent, at
Metro, where Tony was an actor. Then
he went to war and it was kind of ro-

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mantic, Jane thought, to be his girl when
he came back and enrolled at U.S.C. Until
last winter. Miss Powell went to a skating
rink, met instructor Geary Steffen and
fell head over heels right into Geary’s
heart. Now that Jane and Geary are en-
gaged it looks as if Mrs. Burce might
release Janie from that oh-so-young
promise.

Ann Blyth’s first grown-up date in
Hollywood was with Lon McCallister, at
the annual Photoplay dinner four years
ago. She is still number one for Lonnie.
But with advancing age, Annie is all of
twenty years old, she is now learning about
life and men from sophisticated characters
like Roddy McDowall and Tony Curtis.
But I think she will conclude her mascu-
line education with a marriage to Lon.

THERE is big talk in town that Lew Ayres
and Jane Wyman have a date at the altar
in June. Every time I used to check with
Lew, he played dumb on the subject. Now
with spring and love in bloom, Lew has
broken down to admitting that he does see
quite a lot of Miss Wyman, and, “Who
knows,” says Lew, “what will happen
when Jane is free.” That’s a big admis-
sion, because the first time I checked with
him, he denied that he knew her, even
though he and Jane had already worked
together in “Johnny Belinda.”

If Guy Madison and Gail Russell are
married already, as everyone believes they
are, why in heck don’t they admit it?
Here are the facts. Guy and Gail both live
in the same apartment building. Guy tells
me that his apartment is next door to
Gail’s — “Which makes it convenient. I
don’t have a long drive home when I say
goodnight to her.” And yet when Gail had
the flu recently, it was Guy who answered
her phone and took her messages. Of
course, he could have been there to look
after Gail. But I think they’re married.

Elizabeth Taylor is planning a trip to
Korea, to see the man she loves — Glenn
Davis! Unless the Army sends him back
to this country quickly, Lizzie says she
w-ill go into a decline or something. So
maybe Metro will give her time off to
make the trip.

Even Margaret O’Brien has caught the
prevailing seasonal excitement. She is
madly in love with Burt Lancaster! She
says she loves him even after seeing him
in “Kiss the Blood off My Hands” five
times! “And,” adds Maggie, “I must meet
him soon or bust.”

Love — it’s wonderful!

The End

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115

( Continued from page 54) subtracting
costs that have led to the addition of won-
derful objects and the multiplication of
pleasure, is a simple art which you, too,
can master. What it takes is time, humor,
hard work and the wish to make your
house entirely personal.

Take, for the simplest example, the fire-
place in the den, Marion and Don always
wanted a roughhewn flagstone fireplace,
but do you think they just told the builder
that? Not much. They went to the stone-
yard, picked out every stone, for shape and
color, so that the tones shade from deepest
pink to yellow to blue, and the surfaces
have contrasts in smoothness. On the
fireplace mantel are two jugs made into
lamp bases. They are real jugs and the
stuff that was in them was drunk by the
DeFores originally. The little Scotch
plaid lampshades on them were made by
Marion’s mother. She, in fact, made every
lampshade throughout the house.

DON’S mother is also represented. Those
ears of corn at the far end of the
fireplace are from her Iowa farm. Don’s
father is remembered by all the railroad
bits and pieces. The handwoven rug that
is in front of the den door, features the
Chicago and Northwestern Railroad, on
which he was an engineer. At the time
that this railroad was celebrating its cen-
tennial, they printed up some special cloth
commemorating the event. Don got enough
for two lamp shades, which he put on bases
that are small, copper engines.

In other words, they are sentimental and
they’re happy to have everyone know it.
In the entrance hall is the old sewing ma-
chine, which Marion’s mother used as a
girl, and which Marion learned to sew on.
Don painted it a gay green, planted the
drawers with Philodendron. (His mother-
in-law made the shade for the lamp Don
had transformed the top into.) She made
a deep, rectangular shade look very amus-
ing by putting patches on it of several
bits of cloth and sewing odd buttons
here and there The andirons in the den
fireplace are topped by small cannon balls
dating back to the Civil War, in which
both Don and Marion’s grandfathers
fought. These heritage pieces they want
to hand on to their three children.

Now, where this sort of buying applies
to other people is in the stimulus it can give
to your imagination. Merely to go to a fur-
niture store and pick up a “suite” is noth-
ing more than a dollar exchange. If you
spend a great deal, you will get good furni-
ture. If you spend little, you’re virtually
throwing your money away, and you won’t
get a particularly distinguished house.

But take the DeFores’ living room, as
a further example of being original. The
side lamps at either end of the couch are old
pumps, painted red, topped with white or-
gandy shades. Don found them in a junk
yard, had them painted and wired. The
bases are planted. The “tongues,” where
originally the water poured through, are
now copper-lined, so as to form cigarette
boxes. The effect is thoroughly delightful
and the cost was small.

Or, take a good look at the huge black-
smith’s bellows which is the “coffee table”
placed in front of the big, red couch. That
bellows was a virtual mess when Don dis-
covered it in an antique shop. It was his
idea to put it on legs, polish it to a high
gloss and reconvert it to usefulness. But
once again, he saved money, got an un-
usual charming piece and provided a con-
p tinual source of conversation for the
aumerous DeFore guests.

Incidentally, that “polish it down” de-
partment seized Don when he wanted a

Star in Your Home

certain “American primitive” picture in
a certain frame which he spied in a West-
wood Village store. The price of the pic-
ture and the frame, the picture was only
a print reproduction, seemed too high to
him, a total of about forty dollars.

Prowling around downtown Los Angeles
one day, Marion saw the same print for
two bucks, and quickly bought it. Don was
delighted and went frame hunting. He
found an old horror, painted black but his
sharp eyes spotted the fact that the wood
of the frame was actually excellent. He
had never “rubbed down” so much as a
stick before But now he started.

As for Marion DeFore, her particular
province is making all the curtains. They
are all of the cottage type, meaning there
are two short banks of them at all the
windows. Marion’s trick in the living room
is one well worth copying, particularly if
you have a room with a view. One set
of long curtains, at the bottom of the win-
dow, actually half the window depth, is
balanced by a quarter space of clear win-
dow and then a quarter space of curtain
above that. This provides light as well as
a view. The curtains themselves are of
yellow organdy. The far end of the living
room has an inglenook with calico cur-
tains in red, yellow and green-blue to
match the window seat in the same ma-
terial. The carpeting throughout is the old
rag-rug style, in green-blue. They chose
it, first, because it is so inexpensive and
second, because it can stand the wear and
tear of three busy sets of kids’ feet. Right
now, Marion is making curtains of brown
burlap, edged with chartreuse green ball
fringe for the dining room curtains.

The dining room, the four walls, that is,
definitely exists but the room hasn’t any-
thing in it. “Can’t afford it yet,” says Don,
“and besides we haven’t found the things
we want.” Meanwhile, the whole family
eats in the big kitchen.

The kitchen was built oversize deliber-
ately and the bar, which opens into the
den and the kitchen, was set up that way
deliberately, too. “You know, if a party’s
any good, it always ends up in the kitchen,”
Marion says. Incidentally, she does her
own housekeeping and cooking, with no
help except for a day-a-week cleaning
girl. The kitchen itself has every con-
venience.

There is the most modern of gas stoves,
of refrigerator and deep-freeze unit. There
is also the open fireplace for steak and
barbecue cooking. At the opposite end of
the room from the dining end, there is
a unit sink-and-garbage disposal unit,

combined with cupboards and drawers,
with plenty of zinc-topped working space
available. Yet even here the sentimental
touches have not been forgotten. The cor-
ner plate shelves hold one plate apiece
from New York’s and Los Angeles’ more
famous restaurants, “and in particular, one
plate from the place I took Marion, when I
was courting her,” Don says. Don has
never “swiped” a plate or so much as an
ashtray. He politely asks for a plate as a
souvenir, and firmly believes that he isn’t
given them merely because he is a celeb-
rity— a star in Hal Wallis productions. He
grins, and says it is a fine way to start
an interesting plate collection at no cost.

Of course, the whole enchanting lesson
of the DeFore house is the thought they
have put into it, the thought, the love, the
“livability” and the firm belief that they
are going to hand down to their children’s
children some of the treasures that tb«ir
grandparents handed down to them. Re-
member this same thing when you are
planning your own house. It gives it the
kind of charm that no money can buy.

IF YOU don’t believe the kids aren’t
affected by this heart-happy atmosphere
get a load of what Don’s little daughter
Penny, aged six, gave her daddy for Christ-
mas. It’s an ash tray, the like of which no-
body else in the world possesses. The
sketch is of a mighty one-dimensional
man, the kind of gent little girls draw wher
they are six Over his head in quite tipsy
letters, it says “My Daddy” in Penny’s
handwriting. Don loves it more than any
other possession.

How did she get the idea to create it?
Well, Marion did sort of suggest it to her
But the way she put the idea into hei
daughter’s little head was to draw a circle
of just the right size on a piece of paper
She told Penny it would be fun to draw
something for her father for Christmas anc
that did it. Penny could only think o
drawing Don himself. When she had done
so, she and her mother took it to Gai
Patrick’s shop to have it kilned. But yoi
see how a small girl’s creativeness has beer
enormously stimulated by this, and alse
how she has already been taught t< /
veer toward originality when buying gifts’
And since it is to be a permanent posses-
sion of her home, what else can she believi (
but that a home is the best possession tha
any one can have?

Which is true, of course, but it’s nice ti
learn it at six and live by that rule unti
sixty or many years beyond.

The End

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MY 1 10 vt
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softer, lovelier, with your very first cake of Camay.
Give up careless cleansing — go on the Camay

Mild-Soap Diet. Doctors tested mild Camay care
on scores of women— found most complexions grew
softer and smoother with just one cake of Camay!
Follow directions on the wrapper for a lovelier skin!

Marjorie met Ben when she
was at Skidmore— he called
with Dartmouth friends. It
was love from the start! She
thanks Camay: "My first cake
brought a lovelier look!”

READ ABOUT A ROMANCE!

Camay

rmer marjorie Lehmann ot Haverhill,
bridal portrait painted

Honeymooning at Sea Island, bride
and groom rode the ocean with-
out a tumble. But Ben’s "over-
board” for Marjorie’s complex-
ion. She’ll stay on the Camay
Mild-Soap Diet!

THE SOAP OF BEAUTIFUL WOMEN

^'Pentists sa uj the IB\NA way works J"

Junior model Mary Mohr shows how it can work for you, too

A dream dances . . . 21-year-old model Mary Mohr of Jersey City,
clicks at a college prom. This popular gal brightens many a magazine
page with a smile her beaux find irresistible!

“I follow the I pana way to healthier gums and brighter teeth . . .
because dentists say it works!” says Mary. Here’s how her profession-
ally approved Ipana dental care can work for you, too . . .

YES, 8 OUT OF 10 DENTISTS SAY:

"See? The Ipana way is simple as 1, 2,” says Mary:

1. Between regular visits to your dentist, brush all tooth
surfaces with Ipana at least twice a day.

2. Then massage gums the way your dentist advises — to
stimulate gum circulation. (Ipana’s unique formula
actually helps stimulate your gums. You can feel the
invigorating tingle!)

Try this for healthier gums, brighter teeth, an Ipana smile.
Ipana refreshes your mouth and breath, too. Ask your
dentist about Ipana and massage. A good dentifrice like
a good dentist is never a luxury!

\pam Jentgl care promotes

-Wealthier gums, brighter teeth

Products of Bristol-Myers

^ In thousands of recent reports from all over the country.
P.S. For correct brushing, use the DOUBLE DUTY Tooth Brush with the twist in the handle. 1000 dentists helped design it!

fkoa/dn't ,
want tone

in tos shoes!

4L i,/

FAVORITE OF AMERICA'S "FIRST MILLION" MOVIE-GOERS FOR 37 YEARS

PHOTOPLAY

Contents for May. 1949

HIGHLIGHTS

Why I Go to the Movies Faith Baldwin

Do I Get Another Chance? Robert Mitchum

It Happened on Ice (Jane Powell) Geary Steffen

The Power of the Powder Room Sara Hamilton

Suddenly It’s Spring

Two Worlds Has Janie Wyman Herb Howe

Lady of Distinction (Olivia de Havilland) Elsa Maxwell

The Gregory Peck Marriage Puzzle Louella O. Parsons

42
44
46
48
50
52
54

Photoplay’s Gold Medal Party 56

Rhythm Man (Dan Dailey) Maxine Arnold

I’m in Love with 10 Men Sheilah Graham

Star in Your Home (Macdonald Carey) Ruth Waterbury

A Letter to My Daughter Shirley Temple

Breakfast in Hollywood (with Mona Freeman) Jack McElroy

Memory Wears Carnations (Vera Ralston) Diane Scott

T Is for Talk Kay Mulvey

Fashioned for Fun Edith Gwynn

Your Photoplay Photo-Plays: Betty Hutton, Jive Bomber

(told in comics) 78

Photoplay Fashions 85

FEATURES IN COLOR

Greer Garson 21

Elizabeth Taylor 28

Jane Powell, Geary Steffen .

Ann Blyth 48

Joan Caulfield

Terry Moore 48

Jean Peters 49

Gene Tierney 49

Jeanne Crain 49

Olivia de Havilland 52

Mona Freeman

Dan Dailey 61

Montgomery Clift 64

Burt Lancaster 64

Richard Widmark 64

Louis Jourdan 65

James Mason 65

Victor Mature 65

Shirley Temple, Linda Susan

and John Agar 68

Esther Williams 85

SPECIAL EVENTS

Casts of Current Pictures .

Inside Stuff — Cal York

What Should I Do?

Laughing Stock

Platter Patter

119

Readers Inc.

Shadow Stage ....

Cover: Jane Wyman, star of “A Kiss in the Dark”
Natural Color Portrait by Paul Hesse
Design by Otto Storch

Fred R. Sammis, Editorial Director Adele Whitely Fletcher, Editor

Ruby Boyd, Managing Editor Rena D. Firth, Assistant Editor

Alice Tiller, Assistant Editor Beverly Linet, Assistant Editor

Edmund Davenport, Art Director

Cleans Your Breath
While It Cleans
Your Teeth!

Ann Daggett, Hollywood Editor
Frances Morrin, Hollywood Managing Editor
Sara Hamilton, Associate Editor
Ruth Waterbury, Contributing Editor

Hymie Fink, Photographer
Sterling Smith, Photographer
Betty Jo Rice, Asst. Photographer
Maxine Arnold, Contributing Editor

MAY, 1949

VOL. 35. NO. 6

cdy£i%

ECONOMY SIZE
Always use < ZSSSZaffi

COLGATE DENTAL CREAM
liter you eat and before every dare

Office at New York, N. Y., under the Act of" March 3, 1879. Authorized as second class mail, P.O. Dept., Ottawa, Ont.,

’ " ’ 151.80 per year. Canada $3.00 per year. All other

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"cit name and address. But we will not be responsible for any

tie trademark registered

accompanied by sufficient first-class postage and explicii .. _ __ r

loss of such matter contributed. Contributors are especially advised to be sure to retain copies of their contributions,
otherwise they are talcing an unnecessary risk. Copyright 1949, by Macfadden Publications, Inc. All rights reserved
under International Copyright Convention. All rights reserved under Pan-American Copyright Convention. Todos
derechos reservados segun La Convencion Panamericana de Propiedad Literaria y Artistlca. Titlt '
in U. S. Patent Office.

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The contents of this magazine may not be reprinted either wholly or in part without permission.

Printed in U. S. A. by Art Color Printing Co., Dunellen, N. J.

Daringly Filmed

his only companion at the Window

What did this boy see
beneath the drawn shade
...was it something real
or just imagination that held
him horror-stricken?

RKO

PRESENTS

Ik WlNDOW

OORE SCHARY In Charge of Production

— BARBARA HALE • BOBBY DRISCOLL
ARTHUR KENNEDY • PAUL STEWART - RUTH ROMAN

Produced by Frederic Ullman Jr. • Directed by Ted Tetzlafl
Screenplay by Mel Dinelli

R K O
RADIO

TONI TWINS prove magic of
SOFT-WATER Shampooing

Lather . . .

was Alva’s problem!

"Imagine trying to shampoo
your hair without enough la-
ther,” complains Alva Ander-
son. "And that’s just about
what happens every time I use
a soap shampoo!” Of course,
Alva won’t ever get the lather
she wants with a soap shampoo
— especially in hard water!
And she can’t rinse away that
dulling soap film, either. That’s
what leaves hair looking drab
and lifeless. Makes it hard to
manage, too !

But Alice
got heaps of it !

"Toni Creme Shampoo is won-
derful! Even in hard water, I
get all the rich, creamy lather
I need — and then some!” says
twin Alice. And Toni does
more than that! After Soft-
Water Shampooing, your hair
is exquisitely clean . . . shinier
. . . more glamorous than you
ever dreamed possible! Each
strand shimmers with all, yes
all its natural beauty! Curls
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soft as a moonbeam!

Now it’s Toni Creme Shampoo for Two!

The Anderson twins know there’s nothing
like Toni Creme Shampoo ! Nothing like Soft-
Water Shampooing in hard water! For Toni
bursts into oceans of thick, billowy lather
. . . rinses away dirt and dandruff instantly.
Toni leaves your hair wonderfully fresh and
radiant . . . sparkling with precious new high-
lights. Helps your permanent "take” better
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of Toni Creme Shampoo today. Try Soft-
Water Shampooing. It’s for you!

Enriched with Lanolin

what

should

do?

YOUR PROBLEMS
CLAUDETTE

Claudette Colbert,
star of “Family
Honeymoon”

ANSWERED BY

COLBERT

DEAR Miss Colbert:

I am twenty-six years old, a fact that
makes me say to myself, “You are old
enough to know better, you silly fool.”

My trouble is, ordinarily enough, a man.
He was a junior in high school when I
was a freshman. He asked me for a date
or two in those days, but I was shy and
diffident, so I always refused.

I saw him occasionally during his col-
lege days, then he went away to war. He
saw me by chance the day before he was
leaving for camp and he asked me to write,
which I did. When he came home on leave,
he always called me and we saw several
movies together. He was always very
sweet, but casual.

When he came back to this country,
he remained in New York until the sum-
mer of 1948. Then he came home to work
in the family store. He wasn’t at all happy,
a fact he confided to me.

I knew then that I was head over heels
in love with him. Finally, without quite
knowing how it happened, we were in the
midst of an affair. I kept expecting him to
ask me to marry him; my mother thought
we had an “understanding.”

Just before Christmas, he went back into
the Air Force and was sent to Saudi
Arabia. So far I have had two cards from
him. What’s it all about? I’m not a child,
but I did think that there was still such a
thing as honor among men.

Jeanne A.

If you will quickly scan the history
you have given me, l think this is what
you will see: A man who had finished
college, had served in the glamorous Air
Force during the war, had lived in New
York. Apparently, he could date prac-
tically any girl he chose.

Finally he came home, probably be-
cause of intense parental insistence. He
didn’t like his work in his father’s storey
he found the town itself dull. Out of
his discontent, he turned to you. Finally,
he went back into the Air Force because
he couldn’t endure the idea of settling
doivn in the town, doing work he hated.

/ realize that pointing this out to you
now does not help you, but it may en-
courage some other girl to analyze the
position of the man before she assumes,
from her own daydreams, that the man
intends to marry her.

Do everything you can to forget this
man. Don’t write, don’t keep pictures of
him in your room, don’t discuss him with
your friends. But don’t be a stony, silent
martyr, either. Start a new life, putting
this man into your background.

Claudette Colbert
( Continued on page 7)

You Couldn’t Tell a Traitor from a Hero

South of st louis nobody cared!

Spnin^ms. AovEtnvRE-Thu$Z ij^^MtownJfnosi

l^ef^WHOSE VOICE MAKfS

-f - , OF REC°ftOs r,

r ' 14 NOW BB,wes **

+ / ^ Must** ^

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The story of a love-song that swept
a girl to star-glittering fame!

PRODUCTION

IN COLOR BY

=*• m y^^./ isss

oream-hits THEY’RE ALtSlMGlHG

.A ^ .Q^e

STARRING

WITH

SELENA R0YLE • FRANKIE CARLE

AND HIS
ORCHESTRA

DIRECTED

MICHAEL .CURTIZ'

SCREEN PLAY BY

HARRY KURNITZ and DANt LUSSIER

( Continued from page 4)

Dear Miss Colbert:

Last New Year’s Eve a woman tele-
phoned me and said, “I didn’t even ask
Ann, my regular baby-sitter if she would
come, because I knew she would have a
date. However, I was sure you wouldn’t
have, so can I count on you?”

I said “Yes.” It was true. I didn’t have a
date. I seldom do have. About three
months ago, a girl friend of mine got a
blind date for me. When our foursome
was breaking up for the evening, my blind
date said to my girl friend in that kidding-
on-the-level way, “Next time, see if you
can’t do a little better for me, huh?”

I know I am no beauty. I am five feet
four inches tall and weigh 107 pounds. I
am a little pigeon-toed. My eyes are gray,
my hair is mouse-brown, and even my
mother admits that I am plain.

I am eighteen, and I will be through with
high school in June. I won’t be able to go
to college because of financial problems, so
I must find a job. I mentioned that fact to
a saleswoman in a store one day, and she
said, “Yes, you’ll be like me. An old-maid
workhorse with nothing to look forward
to.” This scares me. It’s something so big
that I couldn’t discuss it with anyone, but
I knew I had to write to you.

Marie A.

The reason any girl studies herself in
the mirror and decides she is “ plain ” is
that she is afraid she tcill never appeal
enough to a good man who will want to
marry her. Fear of not being wanted is
at the basis of every woman's critical ap-
praisal of her mirrored self.

That being the case, look around you.
You know and l knotv any number of
women who are, let's face it, not only
plain, but downright homely, but ivho
are married to charming, delightful, even
handsome husbands.

The truth must be faced that mere ex-
ternal beauty alone is not the element
which inspires love. Remember, from
your own childhood and adolescent ex-
periences, that those who were cheerful
and kind to you were beautiful.

Finally, regard yourself as a part of
life. You have a destiny or you would
not be on the earth. If you will stop
scowling into your mirror, and start ex-
amining every day for experiences, for
discoveries, for the sensation of the un-
folding of your own future, you will be
amazed to find that loveliness of spirit
may belong to everyone.

Claudette Colbert

Dear Miss Colbert:

I am a twenty-year-old Army veteran
and I am very much in love. But there is
trouble between us. I am crazy about
professional baseball, and have had won-
derful opportunities offered me. However,
my girl friend loathes the game and can’t
even sit through two or three innings.

She wants to get married, but she thinks
we should have a bank account first. To
please her I took a job in a hardware store.
I don’t care much for it although I do my
best and the owner says I’m one of the
best men he has ever had.

Should I keep on with a job that bores
me, and eventually marry this girl, or
should I go into professional baseball?

Mark D.

During the first few years of your mar-
riage, while the glow of early love colored
everything you and your wife did, you
might be quite happy.

However, the first time she fretted
about the amount of money you were
making, you might be tempted to point
out the greater earning power you would
have had in professional baseball.

Stop looking on while others go places,
Honey. Join the gang and be welcome —
but first remember this: never trust your
charm to anything but dependable Mum!

This unique cream deodorant makes you
sure of charm. Contains no water to dry
out or decrease its efficiency. Be a safety-
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Mum

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^0^ 'QfehMs ' _ t Gentle Mum contains no harsh or
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No damaging in-
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For sanitary napkins — Mum is gentle, safe, dependable .

Product of Bristol-Myers
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New Improved
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FILM Amazingly!

In just 7 days— you’ll have
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DOUBLE YOUR MONEY BACK!

Why FILM must be removed

1 . FILM collects stains that make 3. FILM glues acid to your teeth

teeth look dull

2. FILM harbors germs that breed 4. FILM never lets up — it forms con-

bad breath tinually on everyone’s teeth

Now Faster Foaming!

New Pepsodent Sweeps FILM Away!

I’m afraid that, no matter how hard
you tried, you might harbor some resent-
ment against this girl for keeping you
from following the career of your choice.
At twenty, you are too young for mar-
riage, regardless of other considerations,
Claudette Colbert

Dear Miss Colbert:

I am thirty-eight years old, and have
been married only a few months. During
all my early years I never became in-
terested enough in any one man to marry.

About a year ago, a new man moved to
our town. I met him, fell in love with him
and married him in seven months time. I
knew before I married him that he liked
to drink, but now I have discovered that
his problem is really serious.

He never seems to get drunk, but he
likes to have a few drinks after work each
day. The men with whom he works call
him a prince, and praise him to the skies,
but I sometimes wonder if that isn’t be-
cause he picks up many of the tabs.

Even when he is “under the influence”
he is sunny-tempered. He likes to sing,
then gets sleepy and likes to nap. He is
always kind and loving, never gets rude
or foul-mouthed. He will go anywhere I
want to go, and in general is easy to live
with. But we are not saving any money;
we are not getting ahead. It worries me
to see every penny spent every week. I
worked too long to have any illusions
about the steadiness of even the best job.

Would I be foolish to divorce this man,
simply because I realize he is constitution-
ally unable to build toward the future?

Agnes McN.

In dealing with your problem, I believe
there are two points to consider. First, it
is rather human for us to overlook fifteen
or twenty good points of a person’s char,
acter and to stress the one or two flaws
we find. You have made yourself miser-
able by dwelling on his one shortcom-
ing, It’s true that his failing is a serious
one, but he has many compensating vir-
tues. Tell him how you feel about his
drinking. He is not a drunkard, perhaps
he will want to curb it a bit to please you.

The second thing to realise is that, at
your age, you do not adjust as quickly to
a new situation as a younger person will.
This is also true of your husband. Only
a few months is not enough time to give
to trying to work out your problems.

Perhaps, if you return to your work
and make arrangements for allowing
your husband to maintain you at present
while your salary goes into the bank, you
will be able to save your marriage.

Claudette Colbert

LUAJLl

New improved Pepsodent will bring a thrill-
ing brightness to your teeth, a new fresh-
ness to your breath — or well return twice
what you paid !

No other tooth paste can duplicate new
Pepsodent’s film-removing formula ! It
foams wonderfully — goes to work faster,
fighting film: (1) Pepsodent routs discolor-
ing stains that collect on film. (2) It checks
film's “bad breath” germs that cause food
particles to decay. (3) Pepsodent helps pro-
tect you from acid produced by germs in
film. This acid, many dentists agree, is the
cause of tooth decay. (4) Film forms con-
tinually. Remove it regularly and quickly
with Pepsodent. No other tooth paste con-
tains Irium — or Pepsodent’s gentle polish-
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Tty new fast-foaming Pepsodent with
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gives you cleaner breath and brighter teeth
— mail unused portion of tube to Pepsodent,
Division Lever Brothers Company, Dept. G,
Chicago, 111. — and you’ll receive double your
money back, plus postage ! Offer expires
August 31, 1949. Remember, for the safety
of your smile, use Pepsodent twice a day —
see your dentist twice a year !

Another fine product of
Lever Brothers Company

Have you a problem which
seems to have no solution?
Would you like the thought-
ful advice of

Cdfaudette

ColLrt?

If vou would, write to her in
care of Photoplay, 321 S.
Beverly Drive, Beverly Hills,
Cal., and if Miss Colbert feels
that your problem is of gen-
eral interest, she’ll consider
answering it here. Names and
addresses will be held confi-
dential for your protection.

A DORE SCHARY Presentation • Produced by Richard H. Berger
Directed by Richard Wallace * Screenplay by Lionel Houser

R K O
RADIO

nrrf

Oh, the things
they said . . . about
the things she did!

in Baltimore

NICE GIRLS DON T
DO SUCH THINGS!...

dtd/

The warm, wonderful, completely
delightful adventures of a lively Miss
. . . whose very modern ideas simply
made even her boy-friend wonder
whether she was woman,
witch, or what!

0 Linda Darnell and Dan Dailey. Photoplay’s 1948
poll showed he was one of stars who gained most in favor

0 Shirley Temple links arms with the past — Adolphe
Menjou, who co-starred in one of her little girl films

0 Wit comes in pairs: Clifton Webb and his mother.
His film, “Sitting Pretty,” was top favorite with public

f Adding sparkle to Gold Medal party is lovely Bar-
bara Bel Geddes and her husband, Carl Schreuer

INSIDE STUFF

INSIDE STUFF INSIDE STUFF INSIDE STUFF

# The Paul Brinkmans keep one guest entertained — Johnny
Campbell, Fox publicist — with pictures of their children. For
wither Gold Medal party pictures see facing page and page 56

Thisa and Data: A handsome picture of
Tyrone and Linda in ski clothes with a note
from each came to Cal from Kitzbuhel, Tyrol,
where the couple were honeymooning. They
seem ideally happy and Tyrone reminded us
to say “hello” to everyone . . . Doris Day’s
four-year-old son Terry calls his cute mother
“Dodo.” Since her personal appearances with
Bob Hope, Doris has become a national favor-
ite. Bob presented gold St. Christopher medals
to the air hostesses who looked after him
and his troupe on the trip . . . Joanne Dru,
estranged wife of Dick Haymes, is selling
their Valley ranch and with her three small
children is moving nearer town. With her role
in “She Wore a Yellow Ribbon,” Joanne’s
career is leaping ahead . . . Sight of the
week is Clifton Webb, gingerly perched be-
hind the wheel of his new Buick, learning to
drive. His devoted mother Mybelle refuses
to ride until Clifton really gets the hang of
it. Mr. “Belvedere” Webb looks as if he were
about to be hanged himself.

Hitting the Mark: Mark Stevens, who
neither sings nor dances but for some reason
is frequently cast in musicals, was rehearsing
intricate dance steps for his role in “Oh, You
Beautiful Doll,” when a studio worker strolled
onto the rehearsal stage. “What do you think
you’re doing?” the friend asked Mark.

“I’m doing what comes naturally — to Dan
Dailey,” Mark gi’inned and went on dancing.

Happy People: It was a minute to six and
closing time, when Cal dashed into a Beverly
Hills Market and collided with a couple bent
on last-minute shopping, too. It was Jeanne
Crain Brinkman and husband Paul on their
way home from Twentieth Century-Fox
where Jeanne had been testing all afternoon
for the role of “Pinky” which, she felt sure,
would go to Gene Tierney. There is so little
conceit about Jeanne, it’s refreshing and so
much naturalness, it’s unbelievable.

“Our first baby, Paul Jr., looks like his
father but our new baby, Michael Anthony,
looks like me,” she glowed.

As we selected our groceries from the
shelves, they told Cal how they had prepared
a new nursery by building two new bedrooms
and a bath for the boys and their nurse as a
wing onto the house. But, they confided
sheepishly, the new baby was so dear to them
they couldn’t bear to be separated from it
even by a room and hall. So, they turned
their dressing room adjoining their bedroom
into a nursery and there little Michael sleeps
where they can hear his every move.

A New Kind of Van: Van Johnson told Cal
some of his experiences in Los Angeles’
famous Skid Row, a street of shoddy bars and
shady characters, during the night sequences
for “Scene of the Crime.”

It was four a.m. when the camera, con-
cealed in a shop doorway, caught Van alight-
ing from a car and and quickly frisking a
passerby.

All went well until a tipsy loiterer stopped
to protest. “Hey, whatcha think you’re
doin’?” he demanded, ominously raising a
large wine bottle.

Fortunately, Van told us, the cops moved
in to save him from a sudden attack, but for a
second it looked bad. ( Continued on page 13)

INSIDE

STUFF

Lavish was Errol Flynn’s
recent party — and Jennifer
Jones, dramatic in her Dior
gown, with David O.
Selznick, her husband-to-be

Errol Flynn’s guests, among them Dotty Lamour, dined
at tables around pool lit with opalescent water lilies

Susan Peters, lovely in lace, held court from her
wheel chair. In attendance is handsome Ronald Colman

CHARLES STARRETT
OUTLAWS OF THE ROCKIES

a'INDIAN AGENTw^TIM HOLT

INSIDE

STUFF

The kids turned up — West-
ern style — when Ben Alex-
ander, Iron Eyes Cody and
Johnny Mack Brown ap-
peared at kiddies’ premiere
in famed Hollywood theater

( Continued from page 11) The manner
in which Van demonstrated the scene,
the rapidity of his hands in motion,
the new, crisp quality of voice, indi-
cated that this change of pace in his
movies will surprise his fans.

Big Boy: Hurrying along a street
on the M-G-M lot, Cal noticed a tall,
blond boy emerge from the studio
schoolroom, textbooks under his arm.
There was something about his long,
gangling legs that reminded us of the
unstable legs of a young deer. And
almost at once we got the mental
connection; the lad was Claude Jar-
man Jr., who, only two or three years
before, had romped the fields with the
young deer Flag in “The Yearling.”

This almost-shooting-up-overnight
had M-G-M heads in a predicament.
Towering over most of the male stars
on the lot, Claude was no longer able
to play a fifteen-year-old. And then a
bright idea, hit one of the executives.
By adding on a few years, Claude
seemed the perfect candidate for the
GI role in “Battleground.”

Difficult to believe that the little lad
who romped with a fawn only a short
time ago is now playing a soldier.

Wendy Barrie of “Inside Photoplay” television show decides Forrest
Tucker, Republic star, is the tele-type! He’s in “The Last Bandit”

Have you ever wondered if you are as lovely as you could be — are you com-
pletely sure of your charm? Your deodorant can be the difference . . . and you
will never know how lovely you can be until you use Fresh.

Fresh is so completely effective, yet so easy and pleasant to use . . . Different
from any deodorant you have ever tried.

u£€s p^ESH sC5*| Lsl\s

INSIDE STUFF

Among premiere personalities at “Paisan”
opening were Robert Ryan and his wife

Round-up: John Agar calls his cute i
wife, the former Miss Temple, “Shirl. ”
Cute the way Shirley telephones David
Selznick to see that she and John are
cast together in their loan-out deals.
Looks like love to Cal ... To the preview I
of “Take Me out to the Ball Game” with
Angela Lansbury and Peter Shaw, a
devoted twosome. When Peter gets set in
his career, these two will marry . . .
Ingrid Bergman and Italian producer •
Roberto Rossellini strolling along a
Beverly Hills street. Ingrid goes to Italy
to make her next film for the brilliant i
producer of “Open City” and “Paisan”

. . . Robert Taylor was so happy to get >
home from England to his wife Barbara
Stanwyck. And then — wouldn’t you know
it — after weeks of idleness, she began a
new picture the very day after his ar- i
rival. Maybe that’s what keeps their :
marriage such a happy one.

Beg Pardon: In the February 1949
Photoplay on page 108, we published an
item concerning Paulette Goddard and a I
cleaning woman who, as a stunt, was to
be crowned “Star For A Day.” We deep-
ly regret the publication of this anecdote
which we have discovered to be untrue.

It is especially unfortunate it should
have been related about Paulette God-
dard, whose new picture, “Anna Lucas-
ta,” we await eagerly.

( Continued on page .23)

“Paisan” director Rossellini accompanied
Ingrid Bergman and her husband to pre-
miere. He’ll do her next film, in Italy

tfon

cmt dcifctir

Ijo mi!"

But he was doing it — and doing
it deliberately— breaking the
biggest date of the year on very
short notice! This was the party
she had dreamed about ... for
she had bought a lovely
new evening dress and -adorable
new shoes.

Now he was calling the whole
thing off with excuses that, to
say the least, sounded phony.

Looking back at their last date
she recalled that he had acted
strangely indifferent. What had
she said to merit such treatment
then? What had she done to de-
serve it now? The more she
searched for an explanation the
further she got from the truth*.

Are You Sure?

Unpleasant breath (halitosis*)
is the offense unpardonable
. . a hurdle that is hard
for romance to clear. The
insidious thing about it
is that you, yourself,
may not realize when
you have it. More-
over, it may be

present one day and absent the
next.

So why take your breath for
granted — ever? Why risk putting
yourself in a bad light when Lis-
terine Antiseptic is such a de-
lightful, extra-careful precaution
against offending?

hasting Protection.

You simply rinse the mouth with
Listerine Antiseptic and, lo, your
breath becomes fresher, sweeter,
less likely to offend. Not for sec-
onds. Not for minutes. But for
hours, usually.

If you want to be at your best,
don’t rely on makeshifts. Put
your trust in Listerine Antiseptic
— the extra-careful, lasting pre-
caution. Use it night and morn-
ing and before every date where
you want to be at your best.

Most cases of simple bad
breath yield readily to Listerine
Antiseptic; cases of systemic
origin are for your doctor to treat.

Lambert Pharmacal Company
St. Louis, Missouri

Before any date

LISTERINE ANTISEPTIC

to help you be at your best

!l Have you tried the new Listerine Tooth Paste, the Minty 3-way Prescription for your Teeth?

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You Cannot Buy Better”

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At cosmetic counters everywhere
In U. S. A. end Canada

BY ERSKINE JOHNSON

KDGAR BERGEN, after staring at a glam-
our girl’s sheer gown at a Hollywood
party: “That’s the first time I havd ever
seen cellophane with shoulder straps.”

❖ * ❖

Red Skelton played gin rummy until
6 a.m., took a quick shower and rushed
to the studio. By noon Red was fading
fast.

“What’s wrong?” asked a friend.

Said Red: “I’ve got a rummy ache.”

* * *

Harry Carey Jr., is following in his late

father’s footsteps as a Hollywood actor. I

once told Harry Sr., that Junior was a
chip off the old block, but old Harry
roared: “You mean, a slice off the old
ham.”

* * *

They were celebrating Peggy Cummins’s
birthday on the set. “What birthday is it?”
asked Vincent Price.

“My twenty-first,” said Peggy.

“It’s been a long time since I was twenty-
one,” sighed Price, adding quickly, “and I
was twenty-one for a long time, too.”

* # *

Virginia Mayo was wearing an all-lace
bathing suit for a film scene. When the
suit arrived from the designer, there was
a warning tag attached. It read: “Please
do not go into the water in this bathing
suit. It is not censor-proof.”

jj: # *

Sight of the month: Two feminine Van
Johnson fans at a Hollywood premiere.
They were holding a sign which read:
“Van Johnson’s Eager Beavers.” Both of

the fans were in their sixties!

* # *

Phonograph records frequently are used
to get stars in tearful moods for crying
scenes. But the late John Barrymore had
a different system. He could burst into
tears on cue and I once asked him how
he did it. He said: “I just think about all
the money I’ve paid to my ex-wives.”

* * *

George Jessel turned down another pro-
ducer’s offer to do his life story on film
with the comment: “Living my life once

has been enough.”

* 6 *

John Wayne is big and that bigness is
part of his character and personality. But
to make him look even bigger, doorways
on his sets frequently are made extra
small, so that he has to stoop to enter.

* * *

In the Broadway hit, “Born Yesterday,”

one joke got a big laugh. The heroine has

been missing for eight hours and someone
finally ventures the opinion: “Maybe she
went to a double feature?”

But Hollywood can’t take it. The line
is missing from the script of the movie
version.

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Beef About Betsy:

How in the world could you give Betsy
Drake a "best performance” in "Every
Girl Should Be Married”? She was the
homeliest, gawkiest, silliest thing I ever
saw. Everyone I know said so. She made
you so nervous, I could scream. 1 didn’t
even like Cary Grant with her. What in
the world does he see in her? She’s got
about as much shape as a totem pole and
that face ! He gave a good imitation of
her in the picture, she was that silly.
You’re the only magazine that liked her !

Mrs. Joe Merrin

Tampa, Fla.

Casting

We girls in New Jersey would like to
know why Robert Stack never plays the
lead in a picture. He played in three pic-
tures since he returned from the Navy
and he always seems to disappear in the
middle of the picture.

Beverly Deckett

Westfield, N. J.

Cheers and Jeers:

1 was never so happy to see my two fa-
vorite newcomers in one of the funniest
pictures ever made — "Miss Tatlock’s Mil-
lions." The new actor and actress, John
Lund and Wanda Hendrix. Ever since
“A Foreign Affair” with John, I knew he
was meant for comedy, the same with
Wanda in “Ride the Pink Horse.” I
hope Hollywood will put these two in an-
other picture soon.

Carl Walker

Jacksonville Beach, Fla.

I don't know whether we have another
taste, here in Europe, but we cannot agree
with you that Liz Taylor is the ideal teen-
ager. For us teen-agers, Liz looks much
too old. We think she rather looks like
a woman of, at least, twenty-two and not
like a young girl. Shirley Temple, as a
mother, looks much younger than Liz. at
least to us. We think if she would dress
less like a grown-up and more like a
young girl, she w’ould be fine.

Gisella B. Bremer

Berlin, Germany

We should be hearing more of the hazy
voice that puts people in a velvet fog.
Who other than Mel Tornte can put an
audience into a swoon with just a wink of
an eye, and a few movements of the
vocal chord ? Hollywood should certainly
hold on to this excitingly different type
of song stylist.

Ruth M. Ranallo

Pittsburgh, Pa.

Why did Tom Drake nut get star bill-
ing in "Words and Music”? With the
exception of Mickey Rooney, all the
other stars did only acts and they were on
top billing. Tom played a leading role, yet
received less billing than the others. Don't
they believe in justice in Hollywood?

Katherine Yates

Birmingham, Ala.

Release Request:

Why doesn’t Twentieth Century-Fox
release some of Shirley Temple’s old pic-
tures we loved so well ? The present-day
kids have never seen the little Shirley.
Why shouldn’t they, and the grown-ups.
too, get a chance to enjoy these fine films
— "Heidi.” "The Little Colonel,” "Poor
Little Rich Girl,” “The Little Princess."
“Rebecca of Sunnybrook Farm” and
others? Please, producers ! The old pic-
tures are often much better than the new !

Mary Alaska Thompson
Springfield. Ore.

Question Box:

1 saw Olivia de Havi Hand’s wonderful
performance in "The Snake Pit." Since
then she has become my favorite actress.
My girl friend’s mother, who has seen
Miss de Havilland in person, says she is
very short. On the screen, she seems to
be a perfect height. How tall is she?

Darla Alberty

Ventura, Cal.

(Miss de Havilland is five-feet-thrce-and-
three-quarter inches tall.)

1 have recently seen "Red River” and
1 think Montgomery Clift did some won-
derful acting in it. I guess you might sav
lie's everybody’s dream man. There's
something my girl friends and I have
been arguing about — - whether John
Wayne was really fighting with Mont-
gomery at the end or did they have stand-
ins? If you were going to write a fan
letter to Clift, where would you send it:

Carmella Pizzo

Mineola, N. Y.

( Nothing w- as faked about llie Jiglit. Xo
stand-ins were used. Montgomery t lijt is
not under contract to any one studio, but
yon may ivritc him c/o George Evans.
1775 Broadway, Nezv York, N. Y.)

I saw Dick Powell in "Here Comes the
Navy.” He sang so beautifully but could
you please tell me why he never sings
anymore? When 1 heard him sing 1 just
swooned, i* heard he lost his singing
voicf.

Jewell Cranberry

Teaneck, N. J.

( lie wanted to try straight drama/,
roles. Elis voice, at last report, is still ex-
cellent. )

1 have just seen that wonderful picture
"The Snake Pit." 1 would like to know
who played the part of / 1 ester, the very
sick girl. Is she married to Gene Kelly,
the dancing star?

Ann Tremont

Chicago, 111.

(Betsy Blair who is married to Gene
Kelly played the role.)

Please set me right on something about
cowboy star Tim Holt. Who is he mar-
ried to?

Nancy Hanlon

East Liverpool, O.

(He is married to Virginia Mae Ash-
craft. )

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INSIDE STUFF

Party at Errol’s: Errol Flynn threw
the party of the year. The setting out-
did anything Hollywood ever dreamed
up on a sound stage. The Flynn home
and gardens, perched on a mountain
crest and looking down on a twinkling
fairyland of lights below, were
crowded with guests who thrilled to
the beauty of the scene. At dozens of
tables of gleaming white, placed
around the pool which was lit with
opalescent water lilies, sat a cross-
section of glamour town. Jennifer
Jones, in a Christian Dior gown of
white net, covered by a pale blue satin
coat, swept in on the arm of her hus-
band-to-be, David Selznick. Greer
Garson, in emerald green satin, her
red hair arranged in two curls down
her back, arrived with beau, Buddy
Fogelson. Vying in beauty were two
mothers, Joan Bennett and Joan Fon-
taine. The latter and her husband Bill
Dozier told Cal of the christening, that
day, of their daughter Debby. Oddly
enough, however, the spotlight went to
a star of yesterday, Gloria Swanson,
who held every eye with her grace and
beauty. “I can’t tell you how wonder-
ful it is to see all my friends again,
gathered in one place and amid such
beauty,” she told Cal. “I can’t thank
Errol enough.” Another beauty to at-
tract attention was Susan Peters. Su-
san held court from her wheel chair,
with Mary Pickford and handsome
Buddy Rogers smiling upon her.

They love a mystery: Kathryn Grayson, Ethel Barrymore are in “Midnight Kiss’

You re invited to join in the
joyous celebration of

M-G-M’s S liver Anniversary!

(#j) * o*

How fitting that M-G-M celebrates its Silver
Anniversary — twenty- five years of leadership
— with the biggest pictures in its entire history.

The year 1949 started auspiciously for Leo the
Lion with Gommand Decision”. The star-laden
Technicolor production of “Little Women’ ’ will
he long remembered f and here on the following
pages you will find other fine pictures listed . . .
with many more to come during the balance of
the year. Look for these M-G-M Silver Anni-
versary pictures at your favorite theatre. They’ll
give you many golden hours of entertainment.

INSIDE

The buffet table, loaded with viands
from Mike Romanoff’s, was set in the
red-and-white tented patio. The or-
chestra played for such dancers as
Gene Kelly and his wife Betsy, who
left at midnight to relieve the baby
sitter. For Pete Lawford, too, subdued
and pensive, who gave every indica-
tion of being very much in love with
his date, Gloria McLean. This leaves
one to wonder — what of Jimmy Stew-
art?

“I Have My Love to Keep Me
Warm,” the orchestra played and
Shirley Temple wrapped her arms
about her husband, John Agar, as they
danced by. Also looking as much in
love as ever was Howard Duff with
Ava Gardner. Voted the handsomest
man in the room, next to the gracious
host, was Ronald Colman, who came
with his Benita.

The White Mice Races, conducted
by Georgie Jessel, were the sensation
of the evening. Shirley Temple and
Cal watched the mice scamper down
their individual tracks, while guests
howled over the printed programs and
tip sheets that had been written by
Eri-ol. “Errol phoned me a special
invitation,” Shirley told us, “because
we were nominated as the most un-
cooperative players by the Women’s
Press Club.”

Clark Gable, for some reason, left
after dinner. Could have been because
his ex-girl, Iris Bynum, was present

with her old beau Bill Morrow, writer
for Bing Crosby. Absent, of course,
was Nora Eddington Flynn, Errol’s
estranged wife. She was dancing at
Mocambo with Dick Haymes. Days
later, the town was still buzzing with
reports of the gala Flynn party.

Odds and Ends: Odd to watch the
reaction of certain stars to particular
styles. Sitting with Felice Vanderbilt
and the Peruvian artist, Marino Soyer,
at a Don Loper showing, we noticed
how Barbara Stanwyck and June Ally-
son seem to favor the same things.
Entirely different in personality, each
girl prefers the plainly tailored
clothes. And June so twinkly, too . . .
Ben Gage and Esther Williams shar-
ing congratulations with Tony Martin
and Cyd Charisse over their expected
arrivals . . . Donna Reed and Tony
Owen, who have two adopted children,
beaming as they told Cal that one of
their own was on the way . . . Friends
are worried over Gary Cooper who
has been working too long and too
haid and who never fully recovered
from Virus X.

About People: Franchot Tone at the
Robert Hutton party without his
estranged wife, Jean Wallace, tells Cal
he’ll be off to Europe for another pic-
ture in midsummer, along with Charles
Laughton and Burgess Meredith who
worked with him in Paris in “Man

in the Eiffel Tower.” Franchot, who
looks well and seems happy, received
a cute fan letter' from a girl who
saw him in “Every Girl Should Be
Married.” “It’s a wonderful idea,” she
wrote, “and I accept.”

Deanna Durbin, one of Hollywood’s
greatest only a few years ago, seems
to have completely disappeared from
the screen and the scene of Holly-
wood. “What has happened to Dur-
bin?” is a popular question here-
abouts, as time goes by and Deanna
remains a recluse. Her separation
from Felix Jackson is about to become
final, and the two pictures she owes
Universal before August, when her
contract expires, are in- the nebulous
stage. There are those who blame her
eclipse (temporary, we hope) on her
own wilfulness, others on poor man-
agement. Whatever it is, we hope a
whole new beginning is in the cards
for Deanna, who is much too talented
to be forgotten.

Johnny Mack Brown, who long ago
cast his lot with Western films, is be-
ginning to suspect that field may be-
come a mite too crowded if all the
actors who evince a sudden interest in
his affairs take to the sagebrush trail.
With studios closing down and budgets
growing tighter, certain well-known
players are viewing Johnny’s fine, big
home and steady income with an
envious eye. Never one to go into the
cowboy thing in the spectacular man-

STUFF

ner of Gene Autry or Roy Rogers,
Johnny has maintained a steady popu-
larity and won himself what promises
to be a long lasting career. No wonder
the Westerns are beginning to look
good to the “drayma” boys.

Mary Jane: We entered the Bob
Hope set prepared to laugh — we al-
ways do with Hope around — and to
view first-hand the budding wonder,
five-year-old Mary Jane Saunders who
plays an important part in “Sorrow-
ful Jones.”

Frankly, we weren’t prepared for
the child who succeeds Shirley Temple
in this “Little Miss Marker” remake.
We had expected curls and charm and
fussing and pampering. Instead, far
over in a corner where no one seemed
to notice her, we spotted Mary Jane
all alone, riding a tricycle. When she
rode our way we were amazed at the
plain but winsome little face, the
straight brown hair, her unaffected
ways as she swung on a doorknob
between takes, or rode her tricycle.

This, of course, is her first picture
and acting job of any kind. She neither
sings nor dances. She’s just a little
girl who trots off to the Paramount
schoolroom between takes with her
six-year-old stand-in and colors pic-
tures while the others recite.

“I brought my lunch in my own
pail,” she told me. “I hope I have
onions. I love onions, don’t you?” She

The girl on the cover is the girl with Van Johnson, pretty Arlene Dahl

M-G-M's
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Masons’ night out: Janies and Pamela share table with Gracie Allen at a party

INSIDE

loves her lunch pail, too, we noticed.

Bob accepts her as one of the adult
members of the cast. “Hey, M. J.,”
he’ll call. “Let’s go to work, shall we?”

Director Lanfield records her lines
for the following day on a record
which is played back for “M. J.” at
home each evening. She’s letter per-
fect every day.

She loves Linda Hope, Bob told me,
and Bob takes her out to visit his chil-
dren when he can.

Bob and Mary Jane were saying
their prayers the day we visited the
set.

“Now I lay me — Bob said. Mary
Jane’s voice and face had a poignant
tenderness as she repeated — “Now I
lay me.”

Cal thinks “M. J.” really has some-
thing.

Shades of Dickens: The true story
of a certain big name producer has
the towp in hysterics. After a private
home showing of Dickens’s “Great Ex-
pectations” made by J. Arthur Rank
in England, the producer exclaimed,
“Now there’s a great picture. But how
did they think up those characters?”

It was explained to the producer
that the writers had only given a
faithful translation of the book.

“Book?” roared the producer. “Do
you mean a book with those char-
acters just came out and we didn’t
grab it?”

One of the Gala

(Yyv O

In its tradition of bringing great books to the screen...
M-G-M presents Frances Hodgson Burnett's heart-warming story!

STUFF

About the Wildes: The long strug-
gle waged by Cornel Wilde to achieve
a place on the screen for his wife, Pat
Knight, was won, and seemingly, lost.
After repeatedly incurring antago-
nism from higher-ups by his insis-
tence that Pat share his limelight, he
was given the chance by Columbia
Studios in “Shockproof,” with Cornel
and Pat playing the leads. The results
were such- that the film was literally
sneaked into second-rate theaters as
part of a double bill. For a star of
Cornel’s importance, there are some
who look upon this as a disaster, espe-
cially after the 'costly build-up given
him by Twentieth Century-Fox.

Pretty and comely Pat certainly has
every right to a career of her own. No
one denies that fact. But the town
wonders why Cornel insisted it be at
the expense of his own career after he
fought and struggled to achieve a
place of his own.

Here and There: Jane Wyman, who
was beautifully gowned at the Errol
Flynn party, had a heck of a time
with her escort Lew Ayres who kept
trying to dodge photographers. “If I
had a girl as beautiful as Janie, I’d be
proud to be photographed with her,”
one of the lads told Lew. He kinda
stood still after that rebuke . . . Mar-
riage agrees with little Wanda Hend-
rix. She’s gained weight and looks
wonderful. “My husband makes me

eat,” she explains, beaming proudly at
her bridegroom Audie Murphy . . .
Credit should go to Robert Walker for
trying hard to solve his problem at
the Menninger Clinic ... It was heart-
warming to learn that Charles Bick-
ford had again been nominated for an
Academy Award, as one of the best
supporting actors of the year. Charlie
was nominated in 1947 for “The Farm-
er’s Daughter,” and a few years back
for “The Song of Bernadette,” but
won neither time. He turned in two
outstanding performances in 1948: In
“Johnny Belinda,” the picture that
won him the honor, and in “Command
Decision.”

Dream Landlady: June Haver had
been shopping. Not for a new frock,
hat or gewgaw. No, indeed. June had
been pricing property and finally
found a suitable lot in Westwood Vil-
lage. On this site, June will erect a
modern apartment building that will
offer a special gimmick in its tenant
leases. Apartments will be rented only
to young married couples with at least
one child and one pet.

“The trouble my sister Dorothy and
her husband had in renting a place,
simply because they have a child and
a pet, so outraged me I decided to do
■something about it,” June said. Which
seems like a fine gesture to Cal.

Incidentally, June caught the bou-
quet tossed by Dr. Duzik’s nurse who

mqrried Bob Schiller, June’s business
manager. And maybe that’s a sign
June will marry the handsome dentist
as soon as her divorce is final. June is
keeping mum about her plans.

Red and Level-Headed Betty: Betty
Lynn tells Cal she feels there’s too
much family suggestion in the titles
of her latest movies, “Mother Is a
Freshman,” and “Father Was a Full-
back.” “I thought I had gone beyond
mother and father movies when I got
married in ‘June Bride,’ ” she moans.
“I don’t want people to think I’m
strictly a fireside girl.”

Knowing something about this
nineteen-year-old miss, we’d say she
has plenty of reason to feel self-
sufficient. Not many GI’s, for in-
stance, ever found themselves forty
miles behind the Jap lines. And yet,
as a USO entertainer along the Bur-
ma road, Betty found herself in that
predicament when her jeep driver took
a wrong turn.

After six months entertaining up
and down the Burma route, Betty,
worn and weary, worked her way
home on a hospital ship. After a few
weeks rest, she landed a job in the
chorus of “Park Avenue,” where a
talent scout spotted her for a role in
“Sitting Pretty.”

Reserved, quiet and not at all the
stomping tomboy of the screen, Betty
is slated for stardom.

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THE STREETS OF LAREDO: This

Western has a new hit song from the
"Buttons and Bows” composers, Liv-
ingston and Evans. It has the same
title as the film and Dennis Day sings
it for Victor. The reverse has a non-
movie tune "Tarra-Ta-Larra” that’s
headed for The Hit Parade.

MEXICAN HAYRIDE: Though
based on the Cole Porter musical
there are no Porter tunes in it. They
do have a new song "Is It Yes?” and
Mr. and Mrs. Andy Russell sing it
prettily on a new Capitol disc.

MY DREAM IS YOURS: You can
hear Doris Day sing the title tune and
"Someone Like You” (Columbia).
Peggy Lee (Capitol), Art Lund
(M-G-M) tackle the latter tune,
while Claude Thornhill does a smooth
job with the dream tune. But it’s my
guess that the Warren-Dubin oldie,
"I’ll String Along with You,” will
come out on top. Jo Stafford and
Gordon MacRae do it for Capitol.

JIMMY DURANTE-BETTY GAR-
RETT: M-G-M has teamed this comi-
cal pair for some disc fun with "The
Pussy Cat Song” and "Any State in
the 48 Is Great.”

DIANA LYNN: This talented star
plays the thrilling "Slaughter on
Tenth Avenue” and the languid "Body
and Soul” in a single Capitol record.
Good performance.

TONY MARTIN : Several years ago,
movie fans remembered an exciting
song from a Marx Brothers movie,
"The Big Store.” It was called "The
Tenement Symphony.” No one re-
corded it then. Well, Tony Martin
devotes two sides of a new Victor disc
to the song and it deserves it.

POPULAR ALBUMS: Harry Horlick
plays a series of Tangos and there’s a
set of tango lessons attached as pre-
scribed by Fred Astaire (M-G-M) . . .
Capitol has a new collection of Stan
Kenton’s abstract jazz under the al-
bum title of "Encores.” . . . Smooth
"Keyboard Sketches” by Skitch Hen-
derson is a Capitol album standout
. . . And, for good measure, Capitol
has a new piano set by Nat King Cole
. . . The same company has also pressed
a set of wonderful music by Xylo-
phonist Red Norvo.

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Picture-album appeal: Elizabeth Taylor, June Allyson, Rich-
ard Staplev and Peter Lawford give an old classic new charm

^ (F) We Were Strangers
(Columbia)

(IUBA of the 1930’s is the background for a savagely
J realistic movie with the staccato tempo of a machine gun.
Jennifer Jones scores in the most dramatic and unusual
role of her career — that of a Cuban girl, who joins the
underground after witnessing the brutal murder of her
student-brother. She wants to kill the assassin, police in-
spector Pedro Armendariz, but John Garfield — a Cuban-
born American posing as a theatrical agent — has a more
ambitious plan. Using Jennifer’s home as their headquar-
ters, Garfield and his fellow-revolutionists dig a tunnel
leading into the cemetery across the road. A prominent
citizen is to be assassinated and, when the president and
cabinet attend the funeral, they will be blown to bits. As
their grim plan takes shape, it’s like an evil nightmare.

Garfield is intensely sincere; Armendariz makes your
blood boil; Gilbert Roland and David Bond are excellent
in supporting roles.

Your Reviewer Says: Packs a terrific punch.

v')/' (F) Little Women
( Metro-Goldwy n-Mayer )

IN its handsome Technicolor remake of Louisa
May Alcott’s perennial favorite, Metro has
carefully preserved the Victorian flavor, the
lavender-and-old-lace mood. The story of the
genteel Marches is a long, sentimental one not
exactly geared to our streamlined age.

As Jo, the tomboy of the family, June Allyson
is a lovable lass who rates a big bouquet. Mar-
garet O’Brien is wistful as Beth. Elizabeth Tay-
lor, wearing a blonde wig, is Amy, and Janet
Leigh is appealing as Meg. Peter Lawford in-
vites sympathy as Laurie, the lonely rich boy
next door.

Newcomer Rossano Brazzi, Mary Astor, Lu-
cile Watson and the late Sir C. Aubrey Smith
give a fine account of themselves in support-
ing roles.

Your Reviewer Says: Souvenir of granny’s day.

^ (F) The Red Pony (Republic)

Modern punch: Violence and intrigue surround the Cu-
ban love story of John Garfield and Jennifer Jones

JOHN STEINBECK’S story of a boy and his pony has
been made into an idyllic picture of California ranch life.
Peter Miles sensitively portrays a nine-year-old ex-
periencing growing pains. Myrna Loy is his sensible,
attractive mother; Robert Mitchum, the hired man whom
Peter trusts and admires. Indeed, it’s to Mitchum rather
than his father, Shepperd Strudwick, that the boy turns for
companionship. Resentful over this, Strudwick vents his
feelings on Myrna’s old father, Louis Calhern, fond of spin-
ning stories of his Indian-fighting days. Peter is incon-
solable when his pony falls ill and blames Mitchum, in
whose care he left the animal.

Whether in silks or calico, Myma is always the perfect
lady; her role here, however, is not an especially dramatic
one. Calhern lends color, but it’s Mitchum who stands out,
tackling his part with quiet assurance.

BY ELSA

Your Reviewer Says: Warm, tender, human.

For Complete Casts of Current Pictures See Page 119.

F — For the whole family
A — For adults

For Best Pictures of the Month

v'v'v' (F) Down to the Sea in Ships
(Twentieth Century-Fox)

ALL hands on deck for this not-to-be-missed
movie! It’s powerful and deeply moving.
Lionel Barrymore is magnificent as an Old
Salt in command of a New England whaling
vessel in 1887. Dean Stockwell is his fine young
grandson. As First Mate, Richard Widmark
is a credit to his calling. Richard has studied
marine biology, just so much newfangled non-
sense to the old captain. But Dean drinks it in,
wide-eyed. Tension reaches a climax when
Widmark breaks an iron-clad rule during the
rescue of Dean, caught in a storm.

No use spoiling it for you by revealing the
rest of it. Suffice to say that, even without the
usual love story, there are plenty of heart-
throbs on this adventure-packed voyage.

Your Reviewer Says: One whale of a picture.

Adventure at high tide: An 1887 epic of whales and men car-
ries Richard Widmark and Dean Stockwell into stormy waters

^ (F) My Dream Is Yours (Warners)

0 PRING is here and with it a Technicolor musical-ro-
-IJ mance full of zip and zing. Jack Carson and Doris Day
make a pleasing twosome in roles cut to their measure.

Jack, a Hollywood radio talent scout, is in search of a
singer to replace Lee Bowman on S. Z. Sakall’s program.
Bowman, whose crooning has the gals swooning, lets suc-
cess go to his head. To the dismay of advertising man
Adolphe Menjou and his wise-cracking assistant, Eve
Arden, Lee refuses to renew his contract with Sakall, the
agency’s top account. That’s when fast-talking Carson goes
into action, coming up with Doris. However, selling his new
discovery is quite another matter, and selling himself to
Doris is the toughest job of all. While she’s grateful enough
to Jack, it’s Lee who makes her heart beat faster.

Doris puts over her songs with a bang; Carson clowns
with Eve Arden’s aid; Bowman is convincing as a gilt-
edged heel. There’s an amusing cartoon sequence and, to
top it all, Frankie Carle at the keyboard.

Your Reviewer Says: Fast and funny.

Love on the air-ways: Talent scout Jack Carson and

(A) Quartet (Rank-Eagle Lion)

singer Doris Day go their merry ways in radio romance

tage

BRANDEN ^

i^Good l^Very good

FOR sophisticates on the lookout for a different picture,
this is it! But then W. Somerset Maugham is a story-
teller of the first Rank — in this case, J. Arthur. Assisted by
a top-notch cast, author and producer present four delight-
ful stories making for supremely satisfying entertainment.

“The Facts of Life” is a highly amusing account of how a
father’s advice to his young son, off for Monte Carlo, acts
as a boomerang. In a more serious vein, there’s “The Alien
Corn,” dealing with a frustrated artist who lives for his
music alone. The third tale, “The Kite,” describes the
curious revenge a wife takes when her husband leaves her
to return to his overindulgent mother. Finally, there’s “The
Colonel’s Lady,” a satirical portrait of an egotistical
Englishman, whose mousey wife surprises him by writing a
volume of passionate verse. Cecil Parker is excellent in
this; indeed, all performances are of first calibre down to
bit parts.

Author Maugham himself appears to introduce his
“Quartet” to you.

FW Outstanding

Your Reviewer Says: Simply ripping!

and Best Performances See Page 37. For Brief Reviews of Current Pictures See Page 38.

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F' (F) El Paso
(Pine Thomas-Paramount)

I TEXAS frontier town is the setting for
A Paramount’s latest Western. Lovely Gail
Russell brings lawyer John Payne to
uncivilized El Paso from his home in civil-
ized Charleston in 1865. But it’s the lawless
hoodlums, led by sneering Sterling Hayden
and his sheriff-stooge, Dick Foran, who
keep him there. John is fighting mad when
he witnesses the brutal beatings, killings
and plundering all about him, and he sets
about establishing order in the rough-and-
ready frontier town. When he fails to ac-
complish his ends by legal means, Payne
organizes a band of men to outride and
outshoot their oppressors as in the days of
Robin Hood.

Done up in Cinecolor, this is one of the
best action pictures of the year. For laughs,
there’s bewhiskered oldtimer George
“Gabby” Hayes; for pathos, a whisky-guz-
zling judge played by Henry Hull.

Your Reviewer Says: Take a trip to Texas!

^ (F) The Bribe (M-G-M)

HANDSOME Robert Taylor and sultry
Ava Gardner are caught in a web of
intrigue in this actionful thriller set in
Central America.

As a government agent tom between
duty and desire, Taylor delivers a forth-
right performance. He’s after a gang oper-
ating a war surplus racket. Ava’s rum-
drinking husband, John Hodiak, is Suspect
Number One. Robert can’t decide whether
Ava is mixed up in the swindle or just an
innocent bystander. But she’s a luscious-
looking dish and Robert hates to put her
behind bars. So when sly, cringing Charles
Laughton bribes Taylor to drop the whole
case and clear out, the temptation to ac-
cept is awfully strong. It’s obvious that
rascally Vincent Price, who heads the
racket, intends to get rid of Taylor.

Along with the others, Ava plays a
desperate cat-and-mouse game. She’s
plagued by doubts, poor girl, when her
hubby takes one drink too many and de-
velops ticker trouble. A loyal if not loving
wife, how can she run out on him?

Your Reviewer Says: Intrigue.

V'V (F) Canadian Pacific
(Twentieth Century-Fox)

HOP aboard the Canadian Pacific Rail-
way for a fast, thrilling ride.

As surveyor for the railroad, Randy
Scott finds a pass through the Rockies,

Set — for action: John Ireland, Joanne
Dru in scene from “All the King’s Men”

enabling them to extend the road. No
sooner do the men set to work, however,
than sabotage rears its ugly head. Randy’s
old pal, J. Carroll Naish, reveals that dy-
namite has been stolen. After tracing it
to a band of Indians, Scott is fired upon
and lands in the camp hospital with effi-
cient Jane Wyatt, a female sawbones, look-
ing after him. That doesn’t suit Randy’s
spitfire sweetheart, a lovely French-Indian
girl animatedly played by newcomer Nan-
cy Olson. Nancy has turned down Victor
Jory for Scott and now Jory means to
have his revenge. He whips up the Indians
to attack the whites barricaded in a rail-
road car.

Enhanced by Cinecolor, this is a swift-
moving, scenically stunning picture.

Your Reviewer Says: Exciting outdoor dra-
ma.

V'V' (F) Scott of the Antarctic
(Rank-Eagle Lion)

MAN’S courage and endurance are real-
istically recorded in this factual ac-
count of Captain Scott’s expedition to the
South Pole. Many scenes were shot in
Norway and Switzerland, and Scott’s dia-
ries were drawn upon for numerous inci-
dents and dialogue.

John Mills contributes a dignified por-
trayal of the intrepid explorer whose tragic
trek in 1911-12 aroused world-wide inter-
est. Money for the expedition trickles in
slowly but there’s no shortage of eager
volunteers, among them the gallant Cap-
tain Oates (Derek Bond). Finally, Scott,
his scientist-friend Edward Wilson (Harold
Warrender) and their fellow-pioneers sail
from New Zealand for the first lap of their
grueling journey. Scott learns that the
famous Norwegian explorer Amundsen is
also heading for the South Pole, and likely
to get there first. Deeply disappointed, he
nevertheless refuses to jeopardize their
chances by turning the expedition into a
race.

A distinguished film, definitely off the
beaten track.

Your Reviewer Says: Superb snow-and-ice
epic.

(F) Jigsaw (Tower-UA)

PUT a gun in a man’s hand and he’s liable
to go berserk. That’s what happens in
this slambang affair that has Franchot Tone
playing a persistent prosecutor out to get
the mob who murdered his columnist-
friend, Myron McCormick.

Franchot starts snooping, assisted by so-
ciety leader Winifred Lenihan, who has
her own axe to grind. She introduces him
to blonde cutie Jean Wallace. Jean is quite
an eyeful and Franchot makes a play for
her. It’s all in the line of duty, because he
suspects Jean of working with the mob-
sters. Sure enough, she and evil -looking
Marc Lawrence are just like that. Right
there the plot goes really haywire with
everyone taking pot shots at each other.

An amusing sidelight is the parade of
film notables — Burgess Meredith, John
Garfield, Marlene Dietrich — who make
fleeting appearances in this shooting-fest.

Your Reviewer Says: An incredible crime
yarn.

(F) Miss Mink of 1949
(Wurtzel-Twentieth Century-Fox)

RADIO’S give-away programs furnish the
theme for a featherweight farce acted
in comic -strip fashion. By far, the funniest
thing about this movie, featuring Jimmy
Lydon and Lois Collier, is its title.

Lois is in ecstasy when she wins a ten-
thousand-dollar silver-blue mink coat in
a slogan contest. But just as Jimmy’s boss,

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Richard Lane, predicts, the young couple’s
lives are turned topsy-turvy by this sud-
den stroke of “fortune.” So, for that mat-
ter, is the boss’s life. His envious spouse,
June Storey, insists that he buy the coat
for her. Lane puts pressure on Jimmy,
but the poor guy is helpless, what with his
mother-in-law and her brother moving in
and taking charge. Lois and her meddling
mama buy fancy wardrobes to live up to
the elegant coat.

Complications pile up, stringing out the
slender story for some sixty-odd minutes
of pure slapstick.

Your Reviewer Says: On the silly side.

^ (F) The Green Promise
( McCarthy-RKO )

MAYBE a farmer’s life is healthy but it
isn’t always happy. Witness the strug-
gles and heartaches of impoverished far-
mer Walter Brennan and his brood. As the
oldest child, Marguerite Chapman bravely
bears the greatest responsibility, but it
looks as if she’s licked before she starts.
Then up pops nice Robert Paige to give
her a helping hand.

Marguerite’s kid sister, Natalie Wood, a
bright-faced, pigtailed youngster, yearns to
raise a pair of lambs. Paige encourages her
to join the 4-H club whose members dedi-
cate head, heart and hands to serve their
community and country. It’s Natalie’s big
chance to express herself, but it isn’t easy
to get the money for her project.

As this rural drama draws to a close,
there’s the promise of better times for
these hard-working country folk.

Your Reviewer Says: Good glimpse of farm
life.

V' (F) Red Canyon
(Universal-International )

A SPIRITED horse, an equally spirited
girl, and a bronco-buster out to tame
them both. There you have the ingredients
for a bang-up prairie drama.

Sweet-’n’-spicy Ann Blyth is the girl,
Black Velvet the wild stallion, and he-man
Howard Duff the chap who figures he can
handle them. What Ann doesn’t know is
that Howard is one of the notorious Cordts
— the gang who are poison to her cattle-
man-father, George Brent. ’Course, How-
ard has no truck with his horse-thieving
old man, John Mclntire, and his no-ac-
count brother, Lloyd Bridges. But they
keep croppin’ up to remind him he’s one of
them, like it or not. Meanwhile, the mag-
nificent Black Velvet roams the range, and
Howard aims to capture him. It’s Ann,
however, who actually tames the critter —
she has a way with her!— so that he’s as
gentle as a kitten.

All this takes place in Utah against some
mighty pretty scenery. Supporting players
include Edgar Buchanan and Jane Dar-
well, a pair of sharp-tongued old-timers,
also Sheriff Chill Wills.

Your Reviewer Says: Right fancy hoss opera.

W (F) South of St. Louis
(Warners)

THIS rugged romance of Civil War days
tears along at breakneck speed.

When the Union forces destroy their
ranch, Joel McCrea, Zachary Scott and
Douglas Kennedy set out for a Texan
town held by the Confederates. Joel per-
sonally intends to pay back guerilla leader
Victor Jory for raiding his property.
There’s a knockdown, drag-out fight wit-
nessed by singer Alexis Smith, who at
once is attracted to Joel. Alexis has plenty
of allure but Joel intends to marry a nice
home gal, Dorothy Malone . . . that is, if
he ever can rebuild his dream ranch.

Dorothy, however, is weary oi waiting and
beginning to think that Doug, not Joel, is
the man for her. With Alexis to help them,
the boys smuggle ammunition to the Con-
federates— a dangerous business, especially
with Jory as an enemy.

It’s an involved story, but a colorful and
interesting one, with first-rate perform-
ances all around.

Your Reviewer Says: Brisk, bold action film.

/V' (F) Mother Is a Freshman
(Twentieth Century-Fox)

TALK about campus cuties, wait ’til you
get a load of Loretta Young in this gay,
collegiate comedy. Always captivating,
Loretta is even more so in Technicolor.

Professor Van Johnson thinks she’s
smooth — and he’s the dreamboat of every
gal at school, including Loretta’s lovesick,
lively daughter, Betty Lynn. It’s a little
late for Loretta — a beautiful but broke
widow — to be getting an education. How-
ever, if she can pass the entrance exams,
she’s eligible for a three-thousand-dollar
scholarship set up by her grandma. The
only alternative to that would be to marry
her lawyer, Rudy Vallee — in Betty’s lingo,
“a creep.” Curious to see why Van is so
fascinating to Betty, Loretta enrolls in his
course in English Lit. Soon the professor
is keeping Loretta after school — and not to
read Shakespeare’s sonnets.

There’s a lot more along the same lines,
and very snappy lines they are, too.
Student Robert Arthur is there to brush
away Betty’s tears over Van; Barbara
Lawrence is a flirtatious female.

Your Reviewer Says: Enroll for this one.

(F) Tucson

(Wurtzel-Twentieth Century-Fox)

HERE’S a machine-made affair with Jim-
my Lydon as a playboy-student at
Arizona University. Jimmy is more inter-
ested in training his horse for the Inter-
collegiate Rodeo than in keeping up with
his studies. It takes an accident to his
friend, Charles Russell, for which Jimmy
feels responsible, to make him see the light
and really get down to work. Charles, an
ex-GI, married to Marcia Mae Jones, can’t
afford to waste time and money so Jimmy
devises a scheme to keep him going.

The rodeo serves as a climax to a series
of contrived situations. Pretty Penny Ed-
wards is Jimmy’s heart-throb when his
mind isn’t on other matters. Biggest sur-
prise in the picture is to see former child
actress Marcia Mae Jones all grown up.

Your Reviewor Says: Just a filler-inner.

Be.st Pictures of the Month

Down to the Sea in Ships
Mother is a Vreshman
Quartet

Scott of the Antarctic

Best Performances of the Month

Nancy Olson in "Canadian Pacific’’
Lionel Barrymore, Dean Stockwell
Richard Widmark in
" Down to the Sea in Ships”
Natalie Wood in "The Green Promise”
June Ally son in "Little Women”

Loretta Young, Van Johnson, Betty Lynn
in "Mother is a Vreshman”

Jennifer Jones in "We Were Strangers”

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Brief Reviews

LjV' (A) ACT OF VIOLENCE— M-G-M: Robert
Ryan goes gunning for Van Heflin in this grim, sus-
penseful tale of revenge. As Van’s terrified wife,
Janet Leigh turns in a topnotch job. (Mar.)

^ (F) ADVENTURES OF DON JUAN— Warners:
Errol Flynn cuts a dashing figure as Spain’s Great
Lover and swordsman supreme. It takes queenly Vi-
veca Lindfors to slow him down. (Feb.)

^ (F) ALIAS NICK BEAL — Paramount : In this
unusual drama of Good versus Evil, Ray Milland is
the Devil himself, playing hob with district attorney
Thomas Mitchell’s soul. With Audrey Totter, George
Macready, Geraldine Wall and Fred Clark. (Apr.)

(F) ANGEL IN EXILE — Republic: John Carroll
and Barton MacLane play rough in this one. Both are
after a fortune in gold and ready to kill to get it.
Adele Mara is the feminine foil. (Apr.)

(F) BAD BOY — Allied Artists: Interesting
chronicle of a young criminal sent to a boy’s farm for
rehabilitation. Audie Murphy turns out a fine job in
the title role. A competent cast includes Lloyd Nolan,
James Gleason, Jane Wyatt. (Apr.)

(F) BOY WITH GREEN HAIR, THE—
RKO.: A wonderful movie, reminding us of the war
orphans everywhere in the hope it won’t happen again.
Dean Stockwell movingly portrays the lad. With Pat
O'Brien, Robert Ryan, Barbara Hale. (Feb.)

(F) CHICKEN EVERY SUNDAY— 20th Cen-
tury-Fox: A homey, heart-warming movie which
makes the point that a so-called failure can be a suc-
cess as a human being. With Dan Dailey, Celeste
Holm, Colleen Townsend, Alan Young. (Mar.)

(F) COMMAND DECISION— M-G-M: A
strong, hard-hitting film about the problem of the
Big Brass in wartime. Topnotch cast stars Clark
Gable, Walter Pidgeon, Van Johnson, Brian Donlevy,
John Hodiak, Charles Bickford. (Apr.)

(F) CONNECTICUT YANKEE IN KING
ARTHUR’S COURT, A — Paramount: Mark Twain’s
classic comedy presents Bing Crosby as the brave, be-
wildered Smithy transported to King Arthurs court.
With Rhonda Fleming, Bill Bendix and Sir Cedric
Hardwicke. (Apr.)

^ (F) COVER UP — Nasser-UA: Persistence pays
off for insurance investigator Dennis O’Keefe, con-
vinced his client didn’t commit suicide but was mur-
dered. With Bill Bendix, Barbara Britton. (Apr.)

(F) CR1SS CROSS — U-I : In this talky, muddled
meller, Burt Lancaster, Yvonne De Carlo and Dan
Duryea form an ill-starred trio. (Mar.)

^ \ / (A) DARK PAST, THE — Columbia: Psychia-
trist Lee J. Cobb dissects gangster William Holden
to see what makes him tick. His findings make for
a superior, swift-moving crime yarn. (Mar.)

(F) ENCHANTM ENT — Samuel Goldwyn: This
bitter-sweet story, steeped in sentiment, describes the
romances of two pairs of lovers: Terdsa Wright and
David Niven, Evelyn Keyes and Farley Granger.
Somewhat slow-paced but charmingly acted. (Feb.)

(F) EVERY GIRL SHOULD BE MARRIED
—RKO: A lively, lopsided romance with husband'
hunting Betsy Drake chasing bachelor Cary Grant.
With Franchot Tone, Diana Lynn. (Feb.) •

(F) FAMILY HONEYMOON — U-I : A hilari-
ous comedy in which Fred MacMurray weds widow
Claudette Colbert to the chagrin of Rita Johnson.
Claudette’s three kids make it tough for their new
daddy when they go along on the honeymoon. (Mar.)

(F) FAN, THE — 20th Century-Fox: Preserving
the sly, wry humor of Oscar Wilde’s play, this charm-
ing period piece is engagingly acted by Jeanne Crain,
Madeleine Carroll, George Sanders. (Apr.)

'S (F) FAR FRONTIER, THE — Republic: A couple
of notches above the average Western, this Roy
Rogers movie is about a bunch of smugglers bringing
criminals in from Mexico. (Apr)

1/V (F) FIGHTER SQUADRON— Warners: A
Technicolor testimonial to the U. S. Air Force, show-
ing a squadron in action with several scenes taken
from official files. With Edmond O’Brien, Robert
Stack, John Rodney, Tom D’Andrea. (Feb.)

^ (A) FLAXY MARTIN— Warners: Virginia

Mayo is a gorgeous gal, but no lady, in a murder
meller that moves at lightning speed. With Zachary
Scott, Douglas Kennedy, Dorothy Malone, Tom
D’Andrea. (Apr.)

(A) FORCE OF EVIL — M-G-M: The numbers
racket is exposed in all its viciousness with John
Garfield as the crooked lawyer of gangster Roy
Roberts. With Thomas Gomez, Beatrice Pearson.
You’ll squirm. (Apr.)

✓ (F) JOHN LOVES MARY— Warners: Here’s a
harum-scarum farce that has returning soldier Ronald
Reagan enmeshed in a pack of lies that almost loses
him lovely Patricia Neal. Jack Carson, Wayne Morris
and Edward Arnold help with the laughs. (Mar.)

W (F) KISS IN THE DARK, A— Warners: In
this gay, romantic comedy, Jane Wyman scores as a
down-to-earth model who teaches artistic David Niven
how to enjoy life. A real rib-tickler with Victor Moore,
Wayne Morris, Broderick Crawford. (Mar.)

\/ (F) KISSING BANDIT, THE — M-G-M : Frank
Sinatra and Kathryn Grayson sing love duets in a
lush. Technicolor musical of Old California. (Feb.)

\/\/ (A) KNOCK ON ANY DO OR— Columbia:
Tense, tragic study of a youngster succumbing to his
sordid surroundings with John Derek as the boy,
Humphrey Bogart as the lawyer who goes to bat for
him. With George Macready, Allene Roberts. (Apr.)

yV (F) LETTER TO THREE WIVES, A— 20th
Century-Fox: Three lovely ladies are thrown into a
dither by a letter from an erstwhile friend informing
them that she has run off with one of their husbands.
Jeanne Crain, Linda Darnell and Ann Sothern are
kept on tenterhooks — and so are you — regarding Kirk
Douglas, Jeffrey Lynn and Paul Douglas. (Mar.)

1/ (F) LIFE OF RILEY, THE— U-X : Bill Bendix
cuts a few capers in this loud, lively comedy. With
James Gleason, Rosemary DeCamp, Bill Goodwin,
Richard Long. (Apr.)

yV (F) MAN FROM COLORADO, THE— Colum-
bia: Here’s a gripping outdoor drama with plenty of
fireworks. Glenn Ford plays a gun-crazy colonel in
Civil War days. When he goes berserk, neither Wil-
liam Holden nor Ellen Drew can stop him. (Feb.)

(F) MEXICAN HAYRIDE — U-I : Abbott and Cos-
tello indulge in some Mexican monkeyshines in this
frantic farce. Not up to standard. (Mar.)

y' (F) MIRANDA — Rank-Eagle Lion: Fragile
British fantasy about a mermaid who leaves her
underseas cave for London night life. With Glynis
Johns, Griffith Jones, John McCallum (Apr.)

y' (F) MR. PERRIN AND MR. T RAILL — Rank-
Eagle Lion: In this genteel, slow-paced story, Marius
Goring portrays a balmy British school teacher dom-
inated by headmaster Raymond Huntley. (Mar.)

yV^ (F) PORTRAIT OF JENNIE— Selznick: A
glowing romance superbly acted. Jennifer Jones is
the girl out of the past who haunts struggling artist
Joseph Cotten. With Ethel Barrymore, Cecil Kell-
away. (Apr.)

^1/ (A) QUIET ONE, THE— Film Documents;
How America’s underprivileged children are saved
from delinquency is effectively presented in this in-
telligent, adult documentary featuring ten-year-old
Donald Thompson. It’s food for thought! (Mar.)

(F) ROSE OF THE YUKON — Republic: The Army
gets its man in this routine chase film with Steve
Brodie, William Wright and Myrna Dell. (Apr.)

(F) SIREN OF ATLANTIS — Nebenzal-UA: Here’s
a fantastic tale with Maria Montez as the queen of
a fabled kingdom. Dennis O’Keefe and Jean Pierre
Aumont of the French Foreign Legion are her strug-
gling captives. Pretty farfetched. (Mar.)

✓ (F) SUN COMES UP, THE— M-G-M: A senti-
mental Technicolor-treated story about a concert
singer who loses one son and regains another. With
Jeanette MacDonald and Claude Jarman Jr. (Mar.)

V (F) TARZAN’S MAGIC FOUNTAIN- — RKO :
Danger lurks behind every bush in this jungle yarn
but Tarzan steers a safe course. Lex Barker is mus-
cularly adequate in the title role; Brenda Joyce is
his pretty mate. (Apr.)

yV (F) THAT WONDERFUL URGE— 20th Cen-
tury-Fox: A frothy, fun-filled comedy with Tyrone
Power and Gene Tierney. (Feb.)

\/ (A) THIS WAS A WOMAN — Excelsior-20th
Century-Fox: A British meller describing how an evil
woman dominates her family. With Sonia Dresdel,
Walter Fitzgerald and Barbara White. (Mar.)

V' (F) WAKE OF THE RED WITCH— Republic:
In this thriller-diller of the deep, strange adventures
befall reckless captain John Wayne. With Gail Rus-
sell, Gig Young, Luther Adler, Adele Mara. (Apr.)

yV (F) WHEN MY BABY SMILES AT ME—
20th Century-Fox: A backstage burlesque story team-
ing Betty Grable and Dan Dailey. It’s sure-fire, guar-
anteed to give you a glad-sad time. (Feb.)

y (F) WHISPERING SMITH — Paramount : This
Western in Technicolor has Alan Ladd playing a soft-
spoken, swift-acting railroad cop. His bosom pal, Rob-
ert Preston, is led astray by crooked Donald Crisp to
the distress of Brenda Marshall. (Mar.)

✓ (F) WOMAN’S SECRET, A — RKO : This fairly
entertaining suspense drama has Maureen O’Hara
taking a shot at her protegee singer, Gloria Grahame.
A guessing game with Melvyn Douglas, Victor Jory,
Bill Williams. (Apr.)

l/V (F) WORDS AND MUSIC— M-G-M: Metro’s
super-duper musical is jam-packed with stars strutting
their stuff. There’s June Allyson, Perry Como, Gene
Kelly, Mickey Rooney, Judy Garland, Janet Leigh
and Tom Drake, among others. (Mar.)

yV' (F) YELLOW SKY — 20th Century-Fox : Here’s
a really rugged prairie drama with Gregory Peck and
Anne Baxter saying it with bullets. Greg and his gang
are after Anne’s gold. Lots of action with Richard
Widmark, James Barton. (Feb.)

VV (F) YOU GOTTA STAY HAPPY— U-I: Joan
Fontaine and Jimmy Stewart go skylarking in this
giddy romance in which Joan is a pretty-but-spoiled
heiress and Jimmy a sane-but-susceptible working man.
Eddie Albert snags his share of laughs. (Feb.)

GAIL RUSSELL

starring in "EL PASO"

a Paramount Production in Cinecolor

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BY FAITH BALDWIN

A famous author explains why,

AS our family movie-going is ninety per cent
neighborhood theaters, which means
anything from the theater in our town to the
several located from eight to thirteen miles distant, we
usually sit in the last row center. This eliminates the
restless feet of small fry massaging the backs of our necks
and also affords the right seeing distance from
the screen. Usually we go to the seven o’clock show,
after an early dinner.

We go frequently. I am passionately fond of the theater,
but theater attendance, when you live in the country,
is something of a major expedition. And I have
been devoted to the motion pictures since the days of
the silent films. As for our taste in film fare, I
cannot presume to speak for my family. I can, however,
say that all of us are horse-opera addicts. The Western, at
least for me, contains all the elements of suspense
necessary to an exciting evening. The plot is,
of course, basically the same; good triumphs over evil.
There is, except in a few instances, very little love
making, per se, and there is always gorgeous scenery.

It’s all Americana, however highly colored, and we love it.

On the other hand, I have slowly been weaned
away from another type of suspense story, that of the
mystery. I used to like these (and still like
the comedy type), but the trend has been toward
psychopathic killers and abnormalities and these I
definitely do not like. Nor do I go to see motion pictures
set in insane asylums, no matter how good the
acting. I passed up “The Snake Pit,” although I am
aware that fine portrayals give it authentic life.

I saw, admired, but did not enjoy “Lost Weekend.” And
I have come to the conclusion ( Continued on page 116)

after years of picture going, she

keeps coming back for more

Faith Baldwin wrote the original story, “Apart-
ment for Susie,” which came to the screen
as the popular “Apartment for Peggy”

Financially, Bob is back where he started

-but he has found things he overlooked before . . .

BY ROBERT MITCHUM

chance ?

Sixty days — time enough for a

A MOTION picture actor lives in a world of lights and
shadows. Folks on the outside looking in see us not as
we really are but as they believe, or want to believe, we are.
In the last few months I’ve been surrounded by shadows.

Deep, dark shadows through which little sunlight has filtered.

When I hit the jackpot in Hollywood with my success
in “Story of GI Joe” I thought all my troubles were at an end.

I told myself that at last I was free of worry over money

and the uncertainties of the future. Today, I’m saying to myself,

how stupid could I have been to believe that anyone in this

world can ever be free from uncertainty? The higher up

you climb the farther you can fall. Here I am at the bottom of

the ladder again, with a great big strike on my future.

Whether I’m to have the chance to try the climb back up depends
on you, the public.

Although I have been sentenced to serve sixty days in the
Los Angeles County Jail, with two years’ probation, for
violating the California State narcotic law, your verdict as to my
future in the motion picture industry has not yet been
returned. The jury is still out. ( Continued on page 101)

man to think. Time enough for
you to decide whether, when
Bob leaves Wayside Honor
Farm, he will step back into
a career — or oblivion

. . . the need to give Josh and Chris security and pride

and prove Dorothy’s faith is justified

BY GEARY STEFFEN

It m as h(

r first time on skates and her ankles
obbled like crazy — but this was nothing
the way his heart’s been acting

since the first time he saw Janie!

I’D better make a confession, I
guess. I had two reasons for
agreeing to write this article
about my bride-to-be for Photo- i
play. One is, I love any excuse to
rave about Janie. The other is that
this way I get my name spelled right
in print. Ever since I started going
with Janie, that has never hap-
pened— up till now. I get called
everything else — Gary Stefan, Geary
Staffan, even Caiy Stevens. i

But that’s a small price to pay for
the privilege of being around Janie.
Anything is a small price to pay for
being around Janie. I suspect that
even after we’re married, my moni-
ker will still get mangled. Probably
a good share of the time, I’ll just be
tagged, “Jane Powell’s husband.” I
won’t care for that too much, but it
won’t slay me, either.

I know how it is in show business.

I understand the demands of Janie’s
career and I also understand the
kick she gets out of it, and why it
would be like cutting off her right
hand to ask her to give it up, even
for love.

My contact with show business
was as a professional ice skater.
Practically speaking, I learned to
skate as soon as I learned to walk.
My father managed a rink up in San
Francisco, where I was born. We
moved down to Los Angeles when I
was just a ( Continued on page 103)

Janie, Geary and Kathryn Grayson at Mocambo. He
goes for the way Janie dresses but the thing that
really gets him, says Geary, is — her banana puffs!

Geary Steffen and Jane
Powell — romance in a deep
freeze, she calls it!

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BY SARA HAMILTON

Never underestimate it! For
both comedy and tragedy play an impor-
tant part behind the
doors marked “Ladies”

IN HOLLYWOOD, when a girl rises from her night
club table and murmurs gently to her escort,
“Excuse me please, I want to powder my nose,”
anything can happen. A career may be broken or an
idle sentence may precipitate a wave of gossip that
will sweep the town.

There’s the story of a well-known agent, who
fussed and fumed alone at a Giro table, waiting for a
starlet he hoped to impress to return from the powder
room.

After twenty minutes of inquiries, he discovered his
date had run into a virile star in the foyer and had
promptly gone off to Mocambo to dance. Storming
into Mocambo, the agent spied the rival Romeo alone
at a table. •

“Where’s my date?” he demanded.

“In the powder room,” sighed his rival, “growing
old gracefully, I presume. She’s been there for twenty
minutes.”

The agent sat down and commiserated with the
actor. Finally, they decided to do a bit of investigat-
ing. Four night spots later, the search ended. Back in
Ciro’s, the little starlet was dancing with the producer
she had met on her way to Mocambo’s powder room.

And clutched in her little hot hand was a written,
written, mind you — promise of a contract.

“Why do business with a middle man?” she in-
quired of the agent, on her way, once again, to the
powder room.

Chance meetings that have led to fame have had
powder room settings. The beauteous Arlene Dahl
might have been another girl out of work if a pro-
ducer’s wife hadn’t glimpsed her in a nightspot
powder room.

It was a low period in Arlene’s life. A few months
earlier, her hopes had skyrocketed when Warner
Brothers had signed her to the lead opposite Dennis
Morgan in “When Irish Eyes Are Smiling.” Then
just as suddenly, she had found herself out of a job.

On this particular evening, ( Continued on page 112)

Celeste Holm

Lana

Jane Wyman

Ava Gardner

ami

The maids in these mirrored retreats must have a heart of gold and nerves of steel

A versatile Venus in
the sun — vivid Ann
Blyth of “Red Canyon”

Jones

Adams

A field of daisies to brighten your life —
golden Joan Caulfield of “Dear Wife”

Gay lift for a mood that’s sober
— pert Terry Moore of
“Return of October”

Cronenweth

There’s no story behind this, except a flower plot

or two, with some pretty girls as the heroines

A garden is a lovesome
thing for Jean Peters of
“It Happens Every Spring”

Fink-Smith

Zerbe

The spring theme sounds winter’s dirge for
Gene Tierney of “That Wonderful Urge”

Sweet appeal to the heart
of man — lovely Jeanne
Crain, star of “The Fan”

Powolny

two worlds
has janie

BY HERB HOWE

PHOTOPLAY

(stover trl

OUR Queen of actresses, Miss Jane Wyman, opened
her datebook for the week and found every day
loaded up till six o’clock; after that hour, the
rest was silence, as Hamlet said, expiring.

“Not a date after dark,” our Queen brooded.
Reminded that Schopenhauer says we must ex-
pect to be lonely on the heights, Jane said she would
like to know the compensation for being lonely on a
Hollywood hill.

She sniffed at the suggestion that the local satyrs
might be overawed by her, laureled as she is by
England as the finest actress and endowed by the
London Daily Express with a thousand pounds.
She gave the prize back to Britain for restoration
of the Royal Academy Theatre — receiving, in re-

turn, a gracious letter from the Queen of England.

Integrity and spirituality are the qualities which
gave magic to Jane’s performance of the mute
Belinda, for which she received the British award.
Without uttering a word, she was more eloquent
than any actress speaking. By some mesmerism of
vitality, the screen melted away and Belinda came
alive. A man on leaving the theater after the pre-
miere was heard to exclaim: “I’m going to look
for a deaf mute.”

Jane smiled. “Men are attracted to Belinda by
her trusting dependence.”

The reason movie queens and other women who
appear self-sufficient fail to attract men, Jane says,
is that they do not give ( Continued on page 105)

When Jane Wyman finishes a part she’s adrift — looking
for another role to grow into. Her next, “A Kiss in the Dark”

One of her worlds is on display.

But the other — her private world — is

the one that’s worth looking into!

Her young brother had other
ideas about her “sultry” appeal

The Wyman Hollywood sees is the original Jane of St. Joe
— whose mama told her never to . kiss a boy in public

Jane’s father once told her, “You can’t live until you
live.” It took her some years to realize what he meant

Dancing until dawn was fun
and falling in love was excit-
ing but those restless years
were only the beginning

elsa n\axuiell

THIS is not the story of a star.' There’s nothing
unusual about stars. They’re made overnight. They
come by the dozen. This is the story of a great actress.
And great actresses are so rare, you can count all
who have existed for many years on your fingers —
actresses like Bernhardt, Duse, Helen Hayes,

Bette Davis, Olivia de Havilland. . . .

Olivia has become the girl to whom Hollywood
producers turn when they have a movie that demands
an actress who will discard her personality and her
beauty to become, utterly, the character described
by the author.

Olivia, of course, was a star long before she
became a great actress. She played many beautiful
young heroines in many mawkish romances and when
I first met her on the Warner lot she was working
in a hard-shooting Western melodrama.

A restless young lady she was all this time, too.

Too often, she danced or sat up talking about life, until
dawn came to the sky. And always she was in love.

I remember when she had eyes only for Jimmy
Stewart, a darling, but not the most dependable young
man, romantically.

At one of my parties, Jimmy insisted upon playing
the piano, which he does badly, and singing, in a
plaintive little cracked voice. He sang “Judy,”
over and over and over. And all the while, Olivia
sat on the floor, adoring him. She was most wretched
when, since other guests present were Noel Coward,
Cole Porter and Mary Martin, we dragged Jimmy
to his feet, refusing to allow him to usurp
the piano all evening.

It was not, believe me, that ( Continued on page 98)

Beauty in character — Olivia de Havilland

In “The Heiress” Olivia will prove again how
great is the acting stature of a once just-pretty girl

As the terror-ridden heroine of “The Snake Pit”

Powolny

DON’T you believe, for a minute,
that the Gregory Peck marriage
is close to the rocks. I know, be-
cause I have just talked with Greg,
in what, I am sure, is the most inti-
mate story he has ever given about
his private life.

After the stories broke that he and
Greta were having trouble (and I
was one of those who printed that
Greg had left his wife of seven years
without leaving a forwarding ad-
dress) I asked him if he wouldn’t
come and talk to me.

The average actor of his promin-
ence might have said, “Oh, you go
you-know-where, after breaking
that story that I was having trouble
with my wife,” but not Greg. He
seemed to want to talk about it be-
cause, frankly, he blames himself for
the stories in the papers and for the
fact he had caused Greta to worry.

“We had a quarrel, sure,” he said.
“You know how married people are.
They quarrel and battle over trivial
things and then comes the big blow-

Greg discovered there
was one thing he didn’t
know about Greta

LOUELLA 0.
PARSONS

Gregory Peck comes out

from behind those news-

paper rumors to give you

these first-person facts

up. In our case, it was all my fault.
I was nervous and tired. My first
thought was, I’ll get out of here,
anywhere, just so it is away. So I
went fishing down in Mexico.”

• Greg gave that rueful, half-quiz-
zical smile that has made him the
dream man of millions of women.
“You’ll never know what a shock it
was to read that I had left my wife
and that no, one knew my where-
abouts!” He whistled softly.

“But, I’m glad you printed it. It
taught me a real lesson. I’ll never go
away again without telling Greta
where I’m going.”

' Greg stretched his long legs in the
general direction of the fire, blazing
away cheerfully in my living room.
He was in slacks and a soft shirt,
looking as handsome as Lucifer, but
with rione of that I-know-I’m-some-
thing attitude that characterizes
some of our best actors.

He is one of the most completely
natural persons I know. It had been
raining ( Continued on page 114)

Greg gives the love he missed as a boy to Jon (above) and baby Steven

After “"Hie Great Sinner,” Greg hopes to make a picture in Europe

Photographs by Valesha

sweet music, for the stars who

won and those who came to applaud

In white pleated gown, Ingrid Bergman, star of “Joan of Arc”
is led . down the aisle by master of ceremonies George Jessel

A golden occasion, set to

THE Crystal Room of the Beverly Hills Hotel was
the scene. ...

The presentation of the Photoplay Gold Medals
and Citations to the most popular stars and pictures
of 1948 was the occasion. . . .

The great room with its red damask walls and
crystal chandeliers was a brilliant sight. And the
tables at which the 500 guests were seated were
bowers of daffodils and orchids.

At this party, recorded by the nation’s press, radio
and newsreels, George Jessel was a memorable
Master of Ceremonies. It was more than a party,
really. It was a celebration of the people’s choice —
of all the votes cast through the year by men and
women, girls and boys all over the land.

As Darryl Zanuck said in accepting Photoplay’s
Achievement Award for 1948 for his courage in
producing “Gentleman’s Agreement”: “When the
people speak — Hollywood listens!”

Bob Hope, one of top five, and Frank
Capra, producer-director of “State of
the Union,” one of ten best films

PHOTOPLAY’S GO

Darryl F. Zanuck receives Photoplay’s Special Achievement Award from George Vessel. Left to right on dais
are Samuel Engel, producer of “Sitting Pretty,” Fred Sammis of Photoplay, Clifton Webb, star of winning film

Alan Ladd got his reward — as one of leading male stars.
He’s with wife Sue and the Mike O’Sheas (Virginia Mayo)

June Allyson spent four days in snow-
bound train but arrived in time to receive
citation as one of top five

Three reasons why “Sitting Pretty” won top rating with
the public — Clifton Webb, Maureen O’Hara, Bob Young

Walter Lang, who won a Gold Medal for his direction
of winning film, “Sitting Pretty,” with Walter Pidgeon

PHOTOPLAY’S GOL

The Crystal Room of the Beverly Hills Hotel where 500 of Holly
wood’s top stars and executives gathered to pay tribute to thos<

Ann Daggett, Hollywood editor, Motion Picture
Arts and Sciences’ president, Jean Hersholt and
Macfadden’s secretary-treasurer, Meyer Dworkin

The Bogart baby can be proud of his daddy ! Humphrey
won citation as one of America’s five popular male stars

Herb Drake, Macfadden executive, was on hand to greet
the guests — and enjoy a chat with Medal winner, Ingrid

MEDAL PARTY

. . . who were the public’s choice for ’48. The glittering scene
was dominated by huge gold medal which hung against red velvet

George Jessel’s performance as emcee rates a big
smile from Fred Sammis and citation winner,
Esther Williams, one of five leading women stars

At four, Dan was started
on his dancing career

Liz was sixteen — but Dan didn’t know
that when he started courting her in ’41

RHYTHM

“II E? An actor? I don’t know anything about acting. No
|f| tricks. No technique. I just go along with the gag,” says
Dan Dailey.

When nominated for an Academy Award for his per-
formance in “When My Baby Smiles at Me,” this six-foot-
four Irishman, for whom life admittedly is a “million kicks,”
had his own answer. At the table in the Twentieth Century-
Fox commissary, where he communes daily over ham and
eggs with kindred dancers and musicians, he was being
ribbed unmercifully about being coupled with “Sir Lau-
rence.” He jumped nimbly up from the table, executed a
dance step and clicked his long legs together in mid-air. “But
can Olivier do this?" he cracked with his widest Irish grin.

Any visiting dignitaries may have been fooled. But Dan’s
intimates well knew that his real reaction was one of awe and
deep humility. “Get me — alongside one of the greatest artists
in the theater. A ham hoofer like me!” he had previously
repeated over and over. And for once was lost for a laugh.

BY MAXINE ARNOLD

Dan Dailey’s a syn-
copated character — with a
success story strictly off-the-beat

PHOTOPLAY’S
FEATURE
ATTRACTION

anHnnniigiiA

Life has a million kicks for
Dan of “You’re My Everything”

Smith

RHYTHM
MAN

Road tour of “I Married an Angel”
with Bobbie Arnst led to movie test

Those who saw his great per-
formance in “When My Baby Smiles
at Me” were also lost for a laugh.
His Bellevue Hospital scene with
Jimmy Gleason brought tears to the
eyes of director Walter Lang, the
cameraman, the grips and had the
extras swapping racing forms for
handkerchiefs. Producer George
Jessel, who was standing in a dark-
ened corner of the sound stage, cried
so hard he said, “Tell ’em to cut! Let’s
print that one.” The first take. Vet-
eran Jimmy Gleason reached over,
pinched Dailey’s cheek and walked
away wiping his eyes. At the sneak
preview of the picture in a small
neighborhood theater, crowds waited
outside in a cold driving rain for

Dan, with Liz, is still awed by his new movie
status. It’s the only time he’s lost for a laugh!

Dan once worked as a boxer, quit because there was too much of
him to hit! Early film, “Sunday Punch,” put him in boxing role

thirty minutes to applaud Dan when
he came out.

To Dan, his good fortune has been
a matter of men and moment. And
the fact that at every crisis of his
career, he’s bumped into a fellow
son-of-Erin. “God really looks after
the Irish,” he grins, “possibly because
they can stand such a lot of looking
after.”

His success, he insists, has been
contributed to by all of those who
have impressed him during his
twenty-five years of show business.
The lion’s share belongs to the
great performers in vaudeville, as he
told the group of old vaudevillians
who make up the “Comic Club,”
when he danced during one of their

weekly programs at their club room
just off Hollywood Boulevard. Dan
stopped in the middle of a routine he
was doing and in a voice deep with
feeling, told how he’d watched them
all from the wings over the years,
studying their expert timing, their
great authority on sfage, their en-
trances and their exits. The old head-
liners cried as Dan went into all their
old routines for them. “Remember
this, Joe — New Rochelle — this was
yours,” going into a soft shoe routine.
“You, Fi'ank, you wowed ’em when
you came on with this,” he went on,
repeating an old opening gag and
giving the double-double take. “And
you, Mort,” he said, turning to one of
the team of Arthur and Morton Havel

of vaudeville fame. “This was' your
exit. I’ve used that one since — re-
member? I’m a little bit of all of
you,” he said, “and God bless you
all . . . for me being where I am
today.”

Where Dan Dailey is today — is
farther than anyone can just go along
with a gag. His fan mail has zoomed
into Hollywood’s top ten. His studio
has lined up some twelve million dol-
lars worth of movies in advance for
him. The whole American public has
taken into its heart this seemingly
casual character with the unruly
brown hair, the Benny-blue eyes and
famous feet that have not gone to
his head.

And de- ( Continued on page 77)

I'm in

I um

^ 10 men

BY SHEILAH GRAHAM

— who has plenty of
hard-headed reasons for
her soft-hearted condition

Remembering the right things at the right times is the reason
why Monty Clift of “The Heiress” remains on most girls’ minds

If you love strong men, Richard Widmark of “Down to the Sea
in Ships” rates, but it isn’t muscles that make him a menace

Burt Lancaster of “Criss Cross” doesn’t dress up to
many girls’ expectations — but he’s worth cultivating

Handsome is as handsome does. What Frenchman Louis Jour-
dan of “Madame Bovary” does — is mow you down with a look

THIS story should really be
titled: “Confessions of a Col-
umnist!” For twelve years, I
have been surrounded, or vice
versa, by the most publicized and
palpitating men in the world.
Sounds wonderful, doesn’t it?
(P.S. It is, and being a bit on the
frail side, when it comes to gor-
geous men I’ve had a heck of a
fight to keep my perspective, so
to speak. After all, a girl can’t fall
in love with all her masculine
paragraphs.) .

So, after carefully weeding the
wolves from the wonder boys, I
give you the movie men I really
love — all ten of them.

When I first came to Hollywood,
the man I yearned to meet above
all others was Gary Cooper. I
even had ( Continued on page 82)

It’s hard to catch up with the real James Mason but when you
do you’ll find the star of “Caught” well worth the chase

He breaks most of the rules and routines but Victor
Mature of “Interference” has the way with all women

The little house that started all the planning. Pat Nerney
and wife Mona Freeman helped Mac with the decorating details

When Mac decided to save money by mixing his own, Pat, Bet-
ty Carey and Mona were soon up to their necks — in paint!

WHEN the stork alerted the Macdonald
Careys with the welcome news that he
would be winging their way again this sum-
mer, a fast call was made to Mrs. Hecksher,
Betty Carey’s mother.

Mrs. Hecksher is not the kind of mother-in-
law that mother-in-law jokes are told about.
Instead, she’s the kind who is dearly beloved
by her son-by-marriage. An independent lady
with a definite set of personal interest^, she
maintaids her own home in Philadelphia. But
she loves Betty and Mac, and most particularly
dotes on her small granddaughter, Lynn. So, at
least once a year, she’s been a cherished visitor
at their home. This has meant some crowding
in the Carey household, as their Mandeville Can-
yon place, while charming, is definitely small.

Oh, those aching backs ! But they were soon up and

Early wedding presents that never quite fit his own home
were Mac’s contribution to Mrs. Hecksher’s living room

Macdonald Carey isn’t put out when
his mother-in-law visits him. But
she is! Right where she wants to be

doing again. Mona, Mac are in “Streets of Laredo”

Her visit this time was to be no simple affair.
Betty’s doctor ordered her to bed for four
months before the stork’s arrival, and Mrs.
Hecksher planned to stay at least six months.
Both she and Mac believed they could keep
Betty from becoming too bored.

But . Mrs. Hecksher also desired to continue
living her own life — with her own friends and
interests. The family wondered how that could
be fitted into the scheme of an already crowded,
small house. Mac didn’t think it could be. It
was essential that his mother-in-law have a
little place of her own — one that she could share
with her closest friend from the East. So he
went house-hunting, and with the assistance of
several real -estate agents, came upon some de-
lightful five and ten ( Continued on page 95)

Mac pulled a neat trick in the kitchen that will keep
his mother-in-law, Mrs. Hecksher, cooking — with gas!

\liehle

> arenti .

arm /jr.

1 uian iv h

Baltimore

BY SHIRLEY TEMPLE

Shirley and John will present no parent problem

to Linda. For Shirley intends to follow in her mother’s footsteps

EAR Linda Susan:

You’ve been in the world more than a
> year now, and I must say, it seems to
agree with you. You’ve grown so much
already, it’s hard to remember the small
bundle of humanity that arrived on January
30th, 1948. Why, you’ve even started to talk,
you’ve got teeth and, best of all, that fuzz
you wore on your head for so many months
is beginning to look like hair, and is starting
to curl!

When you were born and they told me
you were a girl, I was so happy. Not that
I’ve ever liked girls more than boys, but I
thought that a girl baby would be so much

easier for me to understand.

People have a way of saying, “Girls are a
problem.” Well, my answer to that is: “So
are boys. All human beings are problems to
the people who love them, and to them-
selves.”

Not that I’m looking for trouble! Some of
the young mothers I know go in for too
many books about babies. They read the
teachings of child experts and psychologists
and chatter to each other about “Oedipus
complexes” and “frustrations,” and the next
thing they know, they’ve created a whole
series of complications for their babies, and
then complain the ( Continued on page 110)

. r , i

Photographs by Don Ornitz

Some mornings Mona Freeman wakes up with a flash! A camera enthnsiast, hnsband Pat Nerney has lots of these pictures!

BY JACK McELROY

The Master of Ceremonies of the popular radio program takes you on an early

visit to see the bedlam that one Hollywood family calls breakfast

As a result of Jack McElroy’s calling card — young Miss
Nerney has acquired an expensive taste — for orchids!

Usually, when the alarm fails, baby Monie takes over
— with a good morning kiss. And sometimes it works!

In the hectic hurry of getting off to work, Mona and Pat
share equal billing before the mirror in the bathroom

The first one up gets the paper, which means Mona
reads her comics at this angle almost 'every morning!

BELIEVE me, folks, you have to get up plenty early to catch a movie star
at breakfast! The other morning Pwent to visit the Pat Nemeys (she’s
Mona Freeman) and after just one hour I went home — to bed! Talk
about glamour, there’s no room for it in their busy life — it’s breakfast on the
run, with Pat and Mona calling signals so they won’t collide! Mona never
has to worry about her morning appearance — Pat never has time to stop and
look. They hope to build a home someday but for the present they’re
managing — in a pocket-edition five-room panic. Breakfast? did somebody
mention breakfast ... in Hollywood? Oh . . . Pat drinks his from the
thermos he takes from home, later at the office. Mona has belated coffee
and a piece of toast at the studio while she’s getting into her make-up.

(Tune in Breakfast in Hollywood — Monday through Friday, 1 p.m., PST; 2 p.m., EST, ABC)

Monie doesn’t know what the hurry’s all about but Mona, now working in “Dear Wife,” gets her chance at the

she’s getting down to her business — breakfast paper and some orange juice when baby offers daddy a bite

With her brother and her mother.
Years ago Rudy gave Vera a present
that was to decide her future career

They grew in Vera Ralston’s
garden — symbols of a remembered past,
of a plane to Prague and a promise

RALSTON was on the plane to Prague.

“I know I promised not to go, but I must!” she told
herself. Deep inside, she was afraid. Before she left
America, she had promised her brother Rudy she would
not venture into Czechoslovakia. Two weeks before, at
the London airport, when she had seen her mother off
for Prague, she had promised again. “For you, Vera, it
would be dangerous,” her mother insisted.

She was an American citizen now, but once a Czech,
always a Czech, so read the law of their native land. And
the United States had made it clear that no responsibility
could be assumed for her if she crossed the Czech border.
But she had found she could not be so near and not go
back. It had been ten years since that fateful morning
when she had stood in the bright sun at Ruzin airport,
holding tight the small bouquet of carnations her relatives
had brought her, and saying “Goodbye” to them. Carna-
tions she had kept and still had, dried, pressed and
wrapped in a Czech flag at home.

Hers had been the last plane from Prague. Not only
that, but her mother and she had (Continued on page 107)

‘ lAJhere dreami begin: *Uera l^aiiton of? sdngel on the -Ai

ntazon

7XVVN *Y

BY KAY MULVEY

m is for appetizing: Betty and Esther
couldn't resist Deborah's Sandwich Cake

When Deborah Kerr puts the kettle on, her
guests get a serving of everything — from hats to gowns

Ouija boards and even a fortune in tea leaves!

^is for boy: Deborah Kerr,- Angela Lansbnry, Betty Garrett and Esther Williams consulted the Ouija board.
Onija told them that the baby Esther expects in August will be a boy. Mrs. Gage, however, is making no bets on it

C* VERY Thursday, Deborah Kerr has friends
vD in for tea. For to Deborah, bom in Scotland
and long, a resident of England, teatime is a
high light of every day. She loves preparing tea
things. So it’s on Thursday, her maid’s day out,
i that she entertains. On that day, too, Tony
Bartley, Deborah’s attractive producer-hus-
band, stops on his way home to visit some of his
cronies. Thus Deborah and the girls have that
much longer to talk about men, clothes, chil-
dren and the general trend of things in a
woman’s world.

The Bartleys, who live in a large house high
on the cliffs of Pacific Palisades, have the repu-
tation of being at the top of the social “blue
book” list in Hollywood. They entertain for-
mally at dinner time, give breakfast-riding
parties on Sunday mornings, and often have
people over for an evening of bridge or movies.
But, afternoon tea is Deborah’s favorite occa-
sion. She summons congenial groups by phone,
instead of written notes, and is always thought-
ful enough to supply some form of entertain-
ment. At a recent tea, Audrey Totter, Betty
Garrett, Angela Lansbury and Esther Williams
had a gay time with the Ouija board. They
asked all sorts of questions and got all sorts of
answers. Betty Garrett, an expert at reading
tea leaves, says that the only reason people like
to hear fortunes, is that they like to hear some-
one talk about them.

Deborah had just bought six new hats and the
girls took turns trying them on. The high
light of the afternoon, however, was the ap-
pearance of Miss Melanie Jane Bartley, Debo-
rah’s year-old daughter. Melanie is Deborah’s
real career. Pictures definitely come second.
Deborah admits, too, that Tony is Lord and
Master of the house and makes the decisions on
all things of importance. When she does influ-
ence his decisions, she does it so carefully that
he doesn’t realize it.

Inevitably, the girls began to discuss their
latest pictures and (Continued on page 100)

Cd is for expert: Betty, who learned
to read tea leaves as a child, predicts
an exciting future for’ Audrey (right)

■ e i

is for cute: That’s year-old Melanie Bartley
who, Deborah told the girls, comes first in her life

LU is for daring: And Deborah was when she
bought six hats at once — to her friends’ delight

BY EDITH GWYNN

It’s the individual items in a Hollywood wardrobe

that keep the men doing head-turns in the right direction

IT’S spring again. You can tell from the feminine talk you hear
these days. Clothes . . . clothes . . . clothes. . . .

While Jeff Donnell was working in “Interference” at RKO,
she and her onetime roommate at drama school got an idea that has
resulted in these two gals going into the business of making hand
painted gloves. But waterproof! Mostly their orders are for initials
hand painted on the back of the gloves. But if someone’s name is in
four or five letters, then one letter is painted on each outside
fingertip of both gloves. The painting, is done in contrasting colors
to pastel shades — or black on white or white on black. They’re
real cute with just the first name or just the initials painted on
the cuffs of the gloves.

Joan Crawford, who is passionately fond of blue, has anew spring
cocktail-through-dinner dress, similar to one we raved about last
summer. It’s a favorite conversation piece whenever she wears it.
It’s her own desifn and favors the dressy-but-tailored look that
Joan manages to get into most of her clothes — no matter how
formal. This could be described as an ( Continued on page 92)

MIONED

Flower fancy: Martha Vickers
pins a fresh one on her bag to
give spice to her spring cos-
tume— a one-piece dress with
elbow cuffs and demure bonnet

Fun at her finger tips: A
little imagination and
some waterproof colors
add an original tonch
to Jeff Donnell’s look

Rhythm Man

( Continued, from page 63) spite his insis-
tence that he’s just in the business for
laughs, that he’s just a hoofer, those who
know him best are not fooled. With Dan, it
has never been easy-does-it. But daily
does it. Days of hard work. Years of an
all-consuming concentration and a persis-
tent patience to master any desired objec-
tive. Far removed from the self-styled
“ham hoofer” he pretends to be, and the
world’s greatest extrovert many think he
is, those yaks are a cover up for a tense,
high-strung, extremely sensitive star. His
life story has been his serious, almost
sacred, devotion to show business. He
made his first professional appearance in
blackface at age six, in a minstrel show.

He was born in New York with a silver
spoon in his mouth and a hotel in his
hand. His father, Dan Dailey Sr., man-
ages the famous Roosevelt Hotel.

DAN only completed seven grades in
school. All private schools, he says, with
the explanation, “It would have been im-
possible to get the public schools to accept
me. As it was, I kept quitting all the time.”

He was always “excusing” himself to
hitchhike to New York and catch the
latest vaudeville show at the Palace.

His early childhood was spent in Bald-
win, Long Island, which was heavily popu-
lated with show people, since it was within
such easy commuting distance of New
York; and in Freeport, also a great vaude-
villians’ village. In Freeport, there was
an organization called the Lights Club, to
which all resident show people belonged.
They were always putting on shows and
Dan, “nervy little character that I was,”
was always talking his way into them. “I
worked with Victor Moore and many of
the biggest names in show business.”

The colorful atmosphere of the enter-
tainment world fascinated him. He loved
show people’s lingo. And their laughs.
“They were always swapping yarns and
laughing,” he says. “I decided to get into
a business where I could laugh it up too.”

His “hoofing” began at the age of four,
when he took second-hand dancing lessons
from his sister Irene, who was then at-
tending dancing school. His first profes-
sional engagements were on amateur shows
for a three-dollar guarantee plus a crack
at the grand prize .money — ten dollars.
One matinee, he was doing a soft-shoe
routine (“the one I still do”) at the Grove
Theatre in Freeport, when a booker spotted
him and offered him a good booking in
vaudeville with the Publix Circuit. “I
never did fight to get a job. Everything’s
always happened to me. Like this,” he
adds, motioning over the vast expanse of
Twentieth Cenutry-Fox studios. “Like I
was saying — me, I’ve always just gone
along with the gag.”

When show business was slow, Dan
would accept temporary employment at
various odd jobs, odd, particularly to him
in that they involved work, something he
had so successfully avoided theretofore.
He worked as a caddy, a boxer (“I got five
bucks a fight but I soon quit — too much of
me to hit”). When vaudeville demised,
Dan worked in burlesque houses, doing
a dance routine while the strip-teasers
changed their remaining clothing, which
didn’t take long. “The same hoofing I’m
still doing, only the customers look at
me now.”

Finally, he landed a job in the line at
the Roxy for $35 a week. (He’s booked
for personal appearances there with
“You’re My Everything” for 200 times that
first pay check. “And that’s a kick,” he
says.) Fellow dancers in the line then, like
Harry Mack, now an assistant dance

director at Warner Brothers, remember
Dan as, “A happy-go-lucky boy, but very
ambitious. He had a good time, but he al-
ways got things done. With his $35, Dan
was taking voice lessons even then. He was
a ‘personality’ dancer. Very human. Very
warm. Anything he did audiences liked.”

Dan’s first Broadway break was a spot
in the show, “Babes in Arms,” which had
a successful year’s run. During this time
he married his old schooldays’ sweetheart,
Esther Rodier, a marriage which was to
end in 1941 in Hollywood. Then came a
feature role in “Stars in Your Eyes,” which
was especially significant, in that a carica-
ture. of Dan appeared, with a favorable
review in the New York Times. “And my
folks finally saw the light and decided I
was really working for a living after all.”

It was during the Los Angeles run of “I
Married an Angel,” in which Dan played
the juvenile lead, that he impressed an
agent, A1 Melnick, who took him out to
Metro-Goldwyn-Mayer studios where he
met the head of talent with his usual,
“ ‘My name’s Dailey.’ His was Billy Grady.
He took one look at me and said, ‘Brother,
come into the fold.’ ” At first Grady was
the only one who warmed up to him and it
took some persuasion on his part to get
the studio to sign him for $225 a week.

OTHER than a test he made with Eleanor
Powell for “For Me and My Gal,” his
at-long-last-big-break that was postponed
when Dan went into the Service, Dailey
didn’t dance a step at M-G-M. This was
mostly Billy Grady’s idea, too. If Dan
started out as a dancer, nobody would
ever believe he could act, he said. “Be an
actor first, then surprise them,” he ad-
vised. And Dan, who didn’t want “to get
rung up as a hoofer,” agreed. It’s typical of
his success in finishing any job he starts
that Dan, who had never portrayed a
heavy, was nominated for the Academy
Award for his supporting role in his first
picture, the part of the Nazi Storm Trooper
in “Mortal Storm.” Which, with his typical
modesty, Dan explains away with, “There
was nobody much around that year. So
somebody put my name down.”

For two years, at Metro, Dan played a
bit here, a role there. But it added up to
valuable experience. Dan was hard to cast
then. He had a young face and a mature
personality. During the war, Dan’s face
“grew up” to the rest of him. In fact, he
aged many years that first day, which he
remembers as the low point of his life.
Uncle Sam was tougher to convince than
any of his relatives of the seriousness of
Dan’s allergy to work. He recalls, still
shuddering, that first black morning at
Fort MacArthur. “Pitch black, four a.m.,”
he spent in the kitchen with the sleeves of
his best broadcloth shirt and finest cash-
mere sweater rolled up, scouring pots and
pans. For the first time in his life, this
independent Irishman had a “booking” he
couldn’t walk away from if he didn’t like
it. It was murder, knowing others were in
complete control of his destiny. “I was just
on a hook, hanging there.” Dan talks free-
ly of this first unpleasant phase of Army
life, but again typically, no mention of his
splendid Service record with the 88th Divi-
sion in Italy.

Prior to going overseas, Dan married
a pretty blonde socialite, Elizabeth Hofert.

He wasn’t aware of Liza’s age, or lack
of it, until he took her home from a party
one three a.m. to her waiting father who
inquired, “Do you have any idea how old
this girl is?” Dan thought maybe twenty-
one or twenty-two. “She’s sixteen!” said
her dad. Upon which, Dailey soft-shoed
out the door into the dawn, and didn’t call

her again for two weeks. “You’ve ruined
my life!” Liza kept wailing to her dad.
Dan, as it developed later, also handed her
a surprise. His hair was dyed for a pic-
ture when Liza first met him and she
thought, “Tall, dark and handsome, this
is my man.” Later on, the dye faded and
in the sunshine, the natural golden lights
came through. “You’re a blond!” she said.
“But by that time I was gone anyway and
it didn’t matter,” she laughs now.

WHEN Dan got out of the Service, Metro
had nothing for him to do, and once
again “timing” played its part. Twentieth
Century-Fox had been unable to get either
Gene Kelly or James Cagney for “Mother
Wore Tights” and Lew Schreiber, Fox
executive, called A1 Melnick, Dan’s agent,
asking whether with his knowledge of
Broadway he knew a good song-and-
dance man, one who could also act. “Why
not Dan Dailey? He’s wonderful,” he said.
“But he’s a heavy,” said the executive.
“He’s also a dancer,” reminded Melnick.

He borrowed the prewar test Dan had made
with Eleanor Powell from Metro to prove
it. Twentieth Century-Fox officials were
enthusiastic. “But we won’t borrow him.
This role will make a star,” they said.
“What if I can get Dan’s release from
Metro!” interposed Melnick hastily. Be-
cause M-G-M executives were personally
so fond of Dan, and realized this was his
big break, his release was effected. Then
Fox got Betty Grable’s reaction. “Dailey?

I think he’s great,” she said.

A rhythm man, Dan is definitely off-the-
beat, as Hollywod success stories go. He
comments casually on his improved for-
tune with, “I notice I’m playing a better
class of benefits now.”

His best friends include Andy Mc-
Intyre; dance director Les Clarke; his
agent, A1 Melnick; Michel Manesco, who
served in the Cavalry with Dan and who
now has the Manesco Stables, where Dan
trains and jumps horses; and Pete Dailey,
who fronts a Dixieland Jazz combo in a
cocktail bar called “The Monkey Room”
on Hollywood Boulevard. Dan gets a big
bang out of dropping in to sit in on the
drums with Pete and his “Chicagoans.”
(“But Brother Peter won’t let me play
unless I’m in uniform — white shirt.”)

The favorite off-beat attire of this not-
so-dapper Dan is slacks, a shirt open at
the collar, and a comfortable old felt hat.

At the studio’s suggestion that he dress a
little sharper, Dan recently laid in a new
$1200 wardrobe, cracking, “If I could have
held out even two weeks longer, I think
the studio would have bought it. They
were so ashamed of me.” His pride and
joys are Liz, his beautiful blond husky son
Danny Jr., and his new Cadillac sedan, the
first new car he ever bought.

He lives in a modest six-room white
bungalow in Toluca Lake. His biggest
evening, socially, is a jam session with
such headliners as Peggy Lee, Dave Bar-
bour, Tommy Dorsey, Eddie Miller on the
sax, Brother Pete and his Chicagoans, and
one Brother Daniel Dailey on the trom-
bone or drums.

His most valued souvenirs are two old
vaudeville trunks in the garage. Mute,
plastered reminders of his many entrances
and exits in show business. His Holly-
wood exit is due for a long wait. As evi-
denced by the demands for encores from a
public who are “with” Dan Dailey all the
way. And who have taken into their hearts
this lanky, smiling Irishman, who so
humbly refuses to recognize his success as
a personal achievement. Saying, “Me? I r
just go along with the gag.”

The End

YOUR PHOTOPLAY

Sp-Kok

HOLLYWOOD STAR ADVENTURES

JtiK/ *^>mb QJV

Betty Hutton didn’t always “stop the
show.” When she sang between floor
shows at the Casa Manana the clat-
ter at the tables almost stopped her!

Night after night she sang her heart out —
but she might have been yodeling on a
mountain top for all the customers cared!
They talked and dined while waiting for
the main show with Lou Holtz, Billy Rose

P One night a party of people at a table near
• the bandstand started raising the restau-
rant rafters with their celebrating. The
higher Betty sang, the louder they howled!

2 Betty finished her number. Then suddenly
0 the restaurant became a screaming bedlam
— for the Hutton blood pressure was . . .

. . up! Ami so was Betty! She
grabbed a nearby curtain and
swung feet first into the party
that was making all the noise.
“Quiet . . . Quiet!” she yelled

She stopped the customers’ show — but as
she fled backstage in tears, she could see
herself, fired — singing on street corners!

■,S?

Seconds later, came a knock on her dressing
J room door. “I kn-know . . . I’m fired,” Betty
* sobbed as Lou Holtz and Billy Rose came in.
“Fired!” they' yelled. “Heck no — you’re
going to be featured in our floor show!”

The next night Betty almost stopped the show.
And from there she went swinging along, sing-
ing her songs, right into Hollywood and stardom

unseen woman

within

you

if you

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Aemem/^Fo kfTXe ot/ieh) /fee M

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( Continued from page 65) an auto acci-
dent on the way to the first interview — I
was in such a hurry! Well, I still love Gary,
but twelve years of struggling to make
printable conversation with a sphinx have
dimmed my ardor, to put it printably.

So, when I first saw Montgomery Clift
in “The Search,” I said: “Hold on, Gra-
ham— he seems sensational, but remem-
ber Coop.” But business is business,
sometimes monkey business, so I put on
my best dress and most fetching hat, and
dashed to the set of “Red River,” where
Mr. Clift was making love to ten thousand
head of cattle. Between moo’s, I was in-
troduced to the new number one heart-
throb of Hollywood.

My first reaction was surprise. Mont-
gomery is much shorter than he appears
on the screen. Then I was amazed. The
boy was thanking me for the praise I
had given him in the column!

In Hollywood, it is the custom for stars
to forget the nice things you write about
them, and to scream over the items they
don’t altogether like. Like Peter Lawford,
for instance. When this writer once inti-
mated that Pete was not exactly extrava-
gant with his cash, a fact well-known in
Hollywood, he was most indignant, and
chased madly across the cafe at Metro to
tell me so. That would have been okay if
Pete had ever bothered to say “Thank
you” for the hundreds and hundreds of
nice items from this corner. But Mont-
gomery said “Thank you.” He also dis-
cussed his career intelligently and modest-
ly. I am still swooning from him.

0 ONE could call Bob Hope the hand-
some lover type (forgive me, Bob, but

I’m trying to explain honestly why I love
you!). But here is the kindest man in
Hollywood. And yet you don’t love a man
only because he is thoughtful and careful
not to hurt you. There has to be some-
thing more. The “more” in Mr. Hope’s case
is the intriguing build-up he gives me
and every woman he talks to.

1 watched him recently with a girl who
was doing some technical advising. Bob
didn’t do the obvious thing — praise her
for her work. That’s nice, too, but it’s
nicer to be admired for the simple un-
brainy fact of being a woman. Bob made
her feel attractive as a female, not only
with words, but by attitude and approach.
So that when the not-too-beautiful girl
walked off his set she actually did look
beautiful.

You notice I do not include Bing Crosby
in my list of the lovely ten. Sure I like
him, but Bing is too intangible — like a
pastel piece of air — he slips hurriedly
through your fingers. Women (I know 1
do) like someone they can hold, even if
it’s only theoretically.

If Mr. Hope is in a hurry, and he must
be sometimes, because he has almost as
many business interests as side-kick Bing,
it doesn’t show when you talk to him.
“Come into my dressing room,” he’ll say.
“What do you know?”

I have a rival for Burt Lancaster —
Margaret O’Brien! Our passion will do
us no good, because Burt’s happily mar-
ried. Maggie is less restrained and more
audible about Burt than I am. At last
year’s big circus charity event, Miss
O’Brien shamelessly waited outside Burt’s
dressing room for half hours at a time to
get a glimpse of her hero. I, being a few
years older than Margaret, merely strolled
casually by once every five minutes, hop-
ing to bump into the boy, accidentally.

I’ve tried to analyze why I love Lancas-
ter. If it comes to looks, Tyrone Power
is handsomer, and yet Ty leaves me colder

than yesterday’s newspaper. If it’s a tough
guy quality I’m susceptible to, why does
Humphrey Bogart fail to thrill me in pri-
vate as much as he does on the screen?
Of course, Bogey has lost most of his hair,
and in a year and a half he will be fifty
years old. But that really doesn’t explain
it. I guess it’s something chemical.

And that brings me back to Burt. There’s
an earthy quality about him that appeals
to me. He doesn’t dress too well and
sometimes he can’t be bothered to shave.
Burt hasn’t too much sense of humor, he
is more on the earnest side. But he both-
ers to take time out to explain whatever
you ask him. He is always polite, pleas-
ant, always on a well-balanced keel, never
an exhibitionist like Bogart, never hard
to reach like Tyrone.

The first time I talked with Richard
Widmark, I said, “Please laugh for me.”
Dick grinned, then gave with the cackle
that made him famous in “Kiss of Death.”

Widmark is probably the most obliging
of all the bad movie boys in Hollywood.
No matter what difficult scene he is re-
hearsing, he’ll stop in a minute to answer
questions and give a columnist a good
story. Like most of the actors who play
cruel men on the screen, Dick is very kind
in real life. But behind the quiet affa-
bility you see a flash of steel. You don’t
take liberties with Widmark. And don’t
ever mistake his gentleness for weakness.

It is strength. I love strong men!

WHEN I say I’m in love with Victor Ma-
ture, don’t get me wrong. I would never
want to marry him. I like him too much
and a quiet home life even better! But for
fun, a sympathetic pal, and for down-to-
earth horse sense, Victor is my man.

Very few women, or men for that mat-
ter, can resist the Mature brand of charm.
His gaiety is infectious. His energy is
irresistible. And come clean, Graham, he’s
a very good-looking man! Rules and rou-
tine were invented for Victor to break.
He eats hamburgers for breakfast and
breakfast cereal for dinner. He never
makes plans. And that’s fascinating for a
girl like me who always does things by
rote. Well, nearly always!

Mature is sensible with money. “I’d
like to leave this picture business with
$250,000. Half a million would be even
better,” Vic told me recently. He has bank
accounts all over the United States. But
that isn’t why I love him. You don’t love a
man for his money, anyway. I love Victor
because he’s such a crazy, attractive,
friendly son-of-a-gun.

When Dan Dailey took off for Dallas, a
few months ago, without first telling his ,
wife or his studio, I was the most surprised
gal in town. Dan just didn’t do things like ’
that. Errol Flynn, yes, but not Dan. So
when he returned, rather sheepishly, to
Hollywood, I drove over to Twentieth
Century-Fox to take another look at him.
But it was still the same Dan. He hadn’t
sprouted horns or wings. He was still
friendly, still grateful to Lady Luck for
the big breaks. t

Mr. Dailey’s chief characteristic is a
wide grin that stretches square across his
rather homely face. It always gets me. J j
Ditto, the Dailey chuckle. He’s like a small
boy who wants you to like him. And I do!

Dan is the best-natured lamb in Holly-
wood. I’ve never yet seen him take
offense, even though some of his replies
to questions get him in trouble with
trouble-seeking reporters. Like when he
was asked, “How is your marriage?” and
Dan replied, “Fine, I only beat my wife
three times last week.” Dan, who was only
being funny, had his knuckles rapped for

Ithat one on a coast-to-coast hookup! Was
he sore? Not Dan. He just chuckled.

Gregory Peck may not know this, but
every time he talks to a girl he makes mad
love to her! I used to believe he did it for
me alone (hopeful creature that I am!).
Then, happening to be on his set one day,
I saw him giving that old, always new and
always wonderful, routine to another girl.
It’s nothing he says, it’s what he doesn’t
say, a sort of inching close to you with his
eyes. Brother, those eyes!

You know, it is sometimes quite difficult
for a reporter to keep her mind on her
questions. Especially when Mr. Peck
says, “What is it you want to know,
Sheilah?” in that smooth-as-silk, croon-
ing half whisper. Sinatra does it a little
bit, but with less attention to the girl re-
ceiving the line. You feel that Frankie’s
real thoughts are not with you, but with
himself. Not Greg. When you are with
him, you are the only important object in
his world. That’s how he makes you feel,
anyway. And I’ll settle for that!

FARLEY GRANGER is the youngest of
the men I love in Hollywood. But don’t
get your nouns confused with your adjec-
tives— youth is not necessarily inexperi-
enced. Farley is hep. Even though, when
I asked Shelley Winters who is hepper, if
you get what I mean, “Are you and Farley
getting married?” she replied with a flurry
of exclamations, “Gracious no, Farley is
too immature for a girl like me.”

Well, he wouldn’t be for a girl like
me. (How’m I doing, Farley?) And he isn’t
for Ava Gardner. And before that, there
was Pat Neal. And at about the same time
there was Geraldine Brooks. And earlier
I used to listen to June Haver swoon for
the boy. So I am in good company. Al-
though young Hollywood actors, like very
young men anywhere, usually bore me,
not for what they don’t know, but for what
they think they know. Mickey Rooney is
better now, but when he was twenty, boy,
oh boy, he knew every answer to every
question and he did not wait to be asked,
either. Farley is a boy who can wait.

When Louis Jourdan came into the
Metro cafe a few days ago for lunch, every
woman, except a couple of octogenarians,
sat up and took notice, including yours
truly. Audrey Totter, who was sitting
next to me, said excitedly, “Bring him over
to this table, Sheilah.” “Not on your life,”
said I and, camouflaged with pencil and
notebook, I walked (hurried) to Mr. Jour-
dan’s table and said breathlessly, “How
do you do.”

Louis is so good-looking, it almost hurts
to look at him. But a man, as I said be-
fore, needs more than a classical profile
to win my, believe it or not, non-suscep-
tible heart. Ronald Reagan’s nose is prob-
ably straighter than Jourdan’s. And Rory
Calhoun has darker eyes than Louis, but
the Frenchman’s are soft, they don’t go
through you, they mow you down.

James Mason was recently described as
“The small Clark Gable.” And that’s a
pretty good description. James looks a
lot like the Gable of fifteen years ago,
when his face was leaner and his waistline
was pencil slim. I’d like to see James in
some of Gable’s old roles, although, as a
screen lover his wooing is less obvious.
But the underlying ruthlessness is the
same. Why women love ruthless men I’ll
never know. I only know that they do.

The real-life Mason is not at all the man
you see on the screen. He is gentle,
rather shy, intelligent and utterly nice.
He is hard to catch up with. That is the
number one priority I have promised my-
self for this summer.

And now I am dashing to the beach for
a long cool swim!

The End

All work

and No Fels-Naptha...

“I’m not the complaining kind, goodness knows . . .
but it does seem as though some one in this house would think
about me once in awhile.

“Nobody works any harder than I do . . . week after
week . . . washing the family’s clothes . . . with never so
much as a ‘ thank you or a pat on the wringer.

“I’m not choosy, either . . . whatever they hand
me . . . fine linens; the ladies’ lingerie; Junior’s
grubby play suits; the Boss’s work clothes . . .

I get the dirt out — somehow.

“Seems to me it’s about time I had
some capable help on this job. After
all, I don’t ask for too much . . .
just some Fels-Naptha Soap.”

Go /c/e ft /ar or Go/c/cv?

Fels-Naptha

/cmis/e/Taff/e-Ta/e Graj

fashion editor

Jacqueline Nebem
Helen Sayles
John Engstead

promotion director

retail director
photographer

^sther Williams, whose next picture i
is M-G-M’s “Neptune’s I

It was all over between us.

Gene hadn’t phoned for ages! I was
heartbroken until the night I read:
“Rough hands embarrass a man,”
warns Lucille Ball. “Men like a
woman’s hands to look feminine . . .
feel soft. Keep your hands smooth and
romantic with Jergens Lotion — I do!”

I started Jergens-smoothing

my hands that nightl

The next time I met Gene ... my hands
looked so soft and smooth. “So nice to
hold,” teased Gene ( on our second dinner
date in one week ) ! I know he meant it, too
. . .’cause now I’m wearing Gene’s ring!

See how much softer, smoother, lovelier
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Daughter,” wears the bathing suit i
designed especially for her by Cole
of California. Esther “swim-tested”

this suit and made valuable i
suggestions towards its perfection,
which means this is a swimmer’s
dream of a swim-suit.

Cole of California’s
Esther Williams suit has straps crossed
and fastened high in back for free arm
motion. The fan-shaped bodice gives a
firm natural uplift and whittles the
waist to almost nothing. In navy,
white, beige, red or green matelasse
lastex. Sizes 32-40. $17.95.

For stores nearest yon turn to page 91

or write direct to manufacturer '
listed on page 91

Joy Lansing, in M-G-M’s “Neptune’s Daughter,”

wears a rainbow plaid cotton by Rose Marie Reid of

California with a cleverly draped front and wired,

ruffled bra. Sizes 10-16. $10.95 at Charles F. Berg, Inc.,

Portland, Ore., and Bullock’s, Los Angeles, Cal.

Adele Mara, in Republic’s “Wake of
the Red Witch,” wears a flower print with
faggoted seams by Catalina to make you figure
perfect. Sizes 32-38. $15.00 at Bon Marche, Seattle,
Wash., and Emporium, San Francisco, Cal.

For store nearest you write direct to mansifacturer listed on page 91

THE place where you must look your best is the beach. It’s
going to be easier than usual to accomplish this in the coming
season, for there are suits for every figure and size. A one- or
two-piece form-fitting suit is for you, if you have a good fig-
ure. If hips or upper legs are heavy, you’ll want a suit with
a flared skirt. There are so many suits now with built-in bras,
boned bodices, good waist and hip control, that there’s no excuse
for anyone not to look trim and attractive. Don’t forget acces-
sories are important, too. Sun-shielding dark glasses, a beach bag
big enough to hold everything, flat moccasins or sandals (no
heels, please) and the best-looking beach coat you can find
(see page 88) as the final cover-up for all this glamour.

Adele Mara wears a sharksksin lastex by Jantzen
with a perky white ruffle. Sizes 32-38. $12.95 at G. Fox
and Co., Hartford, Conn., and Bloomingdale’s, New York, N. Y.

Barbara Bates, in Warners’ “Happy Times,’’
wears a pretty dressmaker suit with crisp
eyelet trim by Brilliant. Sizes 34-40.
$7.95 at Lipman Wolfe & Co.,
Portland, Ore., and Franklin
Simon, New York, N. Y.

Joy Lansing wears a SeaMolds by
Flexees faille suit with buttoned waistcoat
bodice and trimly flared skirt. Sizes 32-38.
$12.50 at Lit Bros., Philadelphia, Pa., and

Mpkv's pattern of the month

Mona Freeman and her daughter, Mona Jr., in beach costumes designed especially
for Photoplay by Edith Head. Mona’s latest is Paramount’s “Streets of Laredo”

Here is the perfect costume to cover up your bathing suit. A collarless and reversible “slip on”
coat that buttons at the throat and has big big pockets to carry everything. For the lower half,
just button on a pair of matching reversible diapers. Line the pockets with Koroseal and make
the jacket and diapers in Erwin’s BluSurf sport denim. This denim comes plain or striped

For stores selling Photoplay Patterns see page 91

Photoplay Patterns,

205 East 42nd Street,

New York 17, New York

Enclosed find thirty-five cents ($.35) for which please
send me the Photoplay Pattern of the Mona Freeman
beach costume in size 12 — 14 — 16—18 — 20.

name size

street

city state.

edith head

designer of
the Mona Freeman mother-and-
daugliter beach ensemble

JU other was right when she used
to say, “Yes, my darling daughter,
but don’t go near the water.” For,
in the old days, daughter looked
definitely drippy after a plunge in
the sea. Not so nowadays. Mama’s
girl slips into a beach ensemble
that transforms her from a wet
dryad into a smart siren. For our
pattern this month, Edith Head,
Paramount designer, designed a
mother -and -daughter beach en-
semble that will make you feel like
Mona Freeman looks, with or with-
out the daughter! And it’s so easy
to make, you can wear it to the
beach tomorrow. It’s the answer
for what to wear over your bathing
suit when your suit is wet.

Miss Head also suggests you
make a matching hair band to keep
damp hair out of your eyes and
she adds that, of course, the more
children you have the more match-
ing beach diapers you can make!

Luxite puts your
dreams IN PRINT . . . Pretty, pert
and practical in carefree, long-
with-you Rayon Tricot Jersey.
Cut for your sleeping comfort,

styled for your sleepwear whim.
Now at fine stores, or write us

Gown, about $6.00. Pajama, about $7.00.

Shortre Pajama, about $5.00. Not shown: Sleepcoat
about $5.00. Brief, about $ 1.35. Bra, about $ 1,65.

®Ho/eptoo^ Hosiery Co., Milwaukee t, W/
in Canada London , Onfcrio

Woman's Proportioned Stockings
World Famous Men's Socks
Luxite Underthings and Sleepwear

Jane Nigh, in Paramount’s “Red, Hot and
Blue,” wears a hand-screened print in
satin lastex by Mabs of Hollywood
with flattering figure control.
Sizes 32-38. $16.95 at Lord
& Taylor, New York, N. Y.

Barbara Bates wears a satin lastex Sea Nymph
suit by Jordan with “little boy” cuffed, shorts
and a boned bra. Sizes 32-36. $10.95 at The
Howland Dry Goods Co., Bridgeport, Conn.,
and Kislin’s, Red Bank, N. J.

wherever you live
you can buy

If the preceding pages do not list stores
in your vicinity where Photoplay Fash-
ions are sold, please write to the manu-
facturers listed below:

one-piece blue suit

Cole of California,

2615 Fruitland Road,

Los Angeles, Cal.

two-piece

rainbow plaid cotton suit

Rose Marie Reid of California,
1035 Santee Street,

Los Angeles, Cal.

two-piece flower print suit
Catalina,

443 South San Pedro Street,

Los Angeles, Cal.

two-piece suit with white ruffle

Jantzen,

Portland, Ore.

one-piece suit with eyelet trim
Brilliant,

1410 Broadway, New York, N. Y.
one-piece

suit with buttoned waistcoat
SeaMolds,

417 Fifth Ave., New York, N. Y.

two-piece suit with little boy shorts
Jordan Corp.,

1410 Broadway, New York, N. Y.

one-piece print suit

Mabs of Hollywood,

425 East Pico Blvd.,

Los Angeles, Cal.

stores selling photoplay patterns
Lit Brothers, Philadelphia, Pa.
The Hecht Company,
Washington, D. C.

STORES where you can buy the
Esther Williams swimsuit
by Cole of California

Atlanta, Ga. . Davison Paxon Co.

Boston, Mass. Jordan Marsh Co.

Chicago, 111.. . . Carson, Pirie Scott & Co.
Cincinnati, O. . The Mabley and Carew Co.

Indianapolis, Ind. L. S. Ayers

Miami, Fla. Burdines

Phoenix, Ariz. Goldwater

Pittsburgh, Pa. Kaufmanns

St. Louis, Mo. Stix, Baer & Fulle-

/or

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Fashioned for Fun

(Continued from page 76) almost shirt-
waist type of dress, since it is a two-piece
affair and very simply* made. But there
all resemblance to a “shirt-waist dress”
ends. For the skirt is circular, almost ankle
length and soooo full. And the “blouse,”
which tucks into the rather wide, flat band
of the skirt top, has square shoulders,
short sleeves and a low square neck. The
material is heavy, stiff taffeta of a heavenly
shade of pale, soft blue. Across the square
neckline in front is a row of large, soft silk
roses in matching and deeper shades of
blue. Joan wears matching high-heeled,
ankle -strap, blue kid sandals with this
dress. The finishing touch to this flattering
ensemble is her three-piece set (earrings,
choker and ring) made of filigreed gold,
stqdded with various sizes of aquamarines
and tiny diamonds.

But Joan isn’t the only one with a pas-
sion for blue these balmy spring days and
nights. At the enormous party that the
Jack Bennys gave for Bill Paley and his
wife (who was judged the best-dressed gal
of the year a couple of months ago) there
were no less than five brand-new, light
blue evening gowns on as many stars! And
three of the four were of that pale, pale,
ice-blue, which is flattering to almost any
coloring of skin and hair. Mary Benny,
the hostess, was really outstanding in her .
gown of white lace, just about the only
white one there. Joan Bennett’s gown was
of blue lace with full, filmy tiers for the
skirt and a heart-shaped, snug-fitting,
strapless bodice. Claudette Colbert wore
ice-blue chiffon with a full, flowing skirt,
gathered to a wide grosgrain belt, a
draped, strapless bodice, with a stole of
the matching chiffon.

Dinah Shore, beaming at her George
Montgomery as usual (and vice versa)
was in ice-blue satin, draped to the back
in a bustle effect. She said, “All the
girls want to look like Jennifer Jones to-
night— or some other star. But I want to
look like Mrs. Paley, she’s so beautiful!”
Bill Haines decorated the enormous tent in
which the party was held. And what deco-
rations! Tremendous old-fashioned “chan-
deliers” hung from the ceiling of the tent.
They were literally dripping with hun-
dreds of gardenias. And each place card
(for at least two hundred guests) was
imbedded ip. a bunch of the fragrant
blooms. Every glamour-puss you could
think of was there — and they danced until
dawn.

PAULETTE GODDARD contends (and
how right she is!) that “party gowns”
should be ultra-feminine, and lately she’s
been draping a pale tulle fichu around her
bare shoulders and tucking the ends into
the draped or fitted bodices of her sleeve-
less gowns. (It helps to set off that diamond
necklace of hers!) One outfit that benefits
from this little added touch is her cham-
pagne-toned taffeta evening gown with its
tremendous flaring, floor-length skirt, and
almost no bodice at all. The tulle fichu is
an even paler champagne shade, and with
her hair, dark again as it is, this wisp of a
twist is a dreamy thing. You could apply
it to any strapless gown of one color.

They made a gorgeous little black eve-
ning gown for Vera-Ellen to wear in
“Words and Music” and then the scene she
was supposed to wear it in was never shot,
so Vera bought it and is proudly wearing
the dress to all the spring parties. It’s a
lovely, graceful, filmy gown of black mar-
quisette over black lace, over a flesh-
colored satin slip. All three skirts are
enormously full and full-length, sweeping
the floor. The skirts are gathered to the
tiniest of waistlines, with a wide corselet -
type of belt — heav- (Continued on page 94)

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HOPPING..

(Continued from page 92)ily embroidered
in black sequins and bugle beads — which
snuggles against the tight bodice of flesh
satin, covered with the black lace in a deep
V decolletage front and back. Over the
bosom and up over the shoulder blades in
back, the black net, softly draped, rises out
of that “girdle-belt,” narrowing to a mere
string of net as it reaches the part where
front and back join on the shoulders.

Cotton may have been hot stuff (what
we mean is cool) for winter resorters, but
it’s even hotter (we mean more popular)
now, with spring melting into summer.
Dotty Lamour had a gorgeous white
organdy evening dress, with a bouffant
skirt gathered into a shirred waistband.
The bodice had a detachable cape of heavy
pique, edged in sable, mind you. But now
the sable edging is off, and the little white
cotton cape is doing double duty as a
tiny summer wrap over that lovely dress.
And where the tiny sable collar used to
be, Dotty now has two madly pink huge
silk roses.

Wanda Hendrix (Mrs. Audie Murphy to
you!) has a navy blue pique daytime dress
that actually looks, like wool. It’s a dress
that can start out in the early morning
and look well right up to “time to dress
for dinner.” In town or out. The fitted
bodice with its tiny short sleeves is set
off by a wide, draped collar which frames
the new scooped-out neckline. A wide
belt of red-and-white striped pique holds
in the flared four-gore skirt, that has big,
set-in pockets at the hips. There’s a little
raggedy flower made from bits and pieces
of that red-and-white striped pique, tacked
to the edge of one of the pockets, just for
an eye-catcher. Dead white gloves and
white or navy blue shoes or sandals com-
plete this spic-and -span-looking little
number.

Evie Johnson, Van’s wife, loves the out-
doors and when she isn’t tearing up a
tennis court, she goes romping around in
cotton sun clothes that are designed for
freedom. One costume is a royal pink
bodice of a cotton fabric, fitted over a very
full skirt of pink and muted-blue plaid
cotton — a sort of gingham material. We
almost forgot to say that this bodice is
strapless and, of course, sleeveless. But
over it goes a full-backed and very full-
sleeved bolero of the royal pink cotton
stuff. The briefest of barefoot sandals in
blue — and an enormous blue canvas bag
are the accessories that finish off this chic,
cool, hot-weather ensemble.

You can tell — it’s spring!

The End

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Star in Your Home

( Continued from 'pagf 67) thousand-dollar
houses — now selling for twenty and thirty
thousand dollars.

Mrs. Hecksher wasn’t going to be a
permanent California resident. After the
second baby’s arrival, she planned to re-
turn to her once-a-year call. Brooding
upon this fact, Mac deliberated about the
small building at the far end of his prop-
erty. It was approximately twenty feet
wide by twelve feet deep and ten feet
high. It had a door, several windows, a
good, sound roof and inside partitions
divided it into three fair-sized rooms. Mac
didn’t know what it had been used for by
the original owners of the property, but as
he crossed the lawn and looked into it, a
happy light began to -dawn on him.

He decided to remodel and decorate the
little house as a California home for his
mother-in-law. He asked the assistance
of his good friends, Pat Nemey and Mona
Freeman, and with the suggestions of
Betty and studio designers, plus lots of
shopping at neighborhood stores, he got
under way. He set himself a budget. He
wanted to fix up the little house with a
bathroom, kitchen, living room, bedroom
and a glass-enclosed sun porch, with a
day bed that would turn it into a second
bedroom. He hoped to put in all necessary
fixtures, get mattresses, curtains and any
other necessities and still keep expenses
under $2,500. He kept so well inside that
sum that he actually spent $2,011.

THE first thing he did was plot out the
floor space. He planned one room as the
“master” bedroom and the center room,
into which the front door opened, as a
diminutive living room. He built a par-
tition through the middle of the third
room, converting that into the bathroom
and the kitchen.

Next, Mac added the sun porch in the
back by using compo board for the ceiling
and sidewalls. Getting stock-sized win-
dows, such as can be purchased through
any mail-order house or building sup-
ply store, he put a bank of them straight
across the back of the porch, one window
facing right, and the others facing left,
abutting them. This gives the sun porch
a three-way view; one over the Carey
garden, one out over Sunset Boulevard
and the third down green and shaded
Mandeville Canyon.

The sun porch serves as Mrs. Hecksher’s
friends’ sleeping quarters and is distinct-
ly their favorite “sitting place” during the
day. Their living room is little more than
a square small hall, although it does have
two comfortable chairs and side tables
with reading lamps and a radio atop them.
Mac knows now that he will have to add
a built-in clothes closet to the sun porch,
similar to the one in the original bedroom,

. since the ladies’ finery is already spilling
onto the bedroom chairs.

He also plans to move that porch
“window wall” out by several feet by
adding more compo board and double
or even triple windows at the right and
left, in order to give it really sizable
proportions.

Out of his proposed budget allowance,
it nearly killed Mac that the bathroom
cost $500- and the kitchen $511 to build.
Fortunately, the water pipes had been
installed, but there wasn’t even a wash-
stand. Mac had to get the works and he
didn’t -dare risk being his own plumber.
But when he was doing the tiny kitchen,
he pulled a neat trick. He purchased what
is called a Pureaire unit kitchen which
combines a gas stove, sink, refrigerator
and storage space for the necessary pots
and pans in an area four feet wide and
seven feet high. The cost of the unit, in

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IT 5 A

FABRIC

the- west, at least, is $470. On the remain-
ing three feet of width on the same wall
space, Mac put cupboards and drawers.
The kitchen was furnished with a plastic-
top table, with two extension leaves and
a pair of matching tubular chairs with
plastic seats. All the furnishings are es-
sentially the type that require a minimum
of effort to keep neat and clean.

The kitchen hasn’t a door on it because
Mrs. Hecksher would like everybody to
be able to see the neat and happy look
of it. Like the sun porch, it has one win-
dow that overlooks Sunset Boulevard and
one window that faces the Carey house.
Betty Carey whiled away many of her
bedridden hours running up its red- and -
white checked gingham curtains.

. Mac stuck to the more practical details.
He put down three layers of plyboard over
the original floors and under the present
linoleum which carpets the entire house
now. It’s all in one color. Eventually,
some scatter rugs may go down, but at
present, Mrs. Hecksher doesn’t want them.

The reason for the plyboard “undercoat”
was to keep out the cold, as the house has
no cellar or a real foundation. Like most
California houses, it rarely requires any
heat except in the early morning and late
evenings, and then only occasionally. So
Mac bought two portable gas heaters at
$15 each. They can be easily carried into
whichever room needs them.

Mac made a party out of getting the
house painted. He mixed the paints, which
was cost-saving, as well as fun. The only
painting Mac had done before was in his
school days, when he painted scenery for
the drama class, so it was also adventur-
ous. It turned out dandy, even in the deli-
cate work around the cupboards and
closets. The bedroom is done in a light
pink tone, the other rooms in a yellow
beige, and the sun porch in a dark green.

\Vhen it came to the overall furnishings,
they are, Mac says, “a jumble of early
wedding presents and current unpainted
furniture.” For example, two flower prints
hang on the walls of the small living room.
These were wedding presents and are
delightful. However, they had never fitted
into any decorative scheme the Careys
have had. Out on the sun porch, there’s
an excellent highboy which Mac picked
up at auction for $10. It isn’t a Colonial
original, of course, and it lacks a front
to one of the drawers. But Mac plans to
remedy that and then stain and polish the
whole piece.

Actually, the entire scheme could be
sung to the theme song of the Disney
picture “So Dear to My Heart” — “It’s
Whatcha Do with Whatcha Got.” That’s
what Mac did — and that’s what anyone
can do — with just a little money, plus
one other thing — a sense of having fun.

The End

IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIUIIIIIIIIIIIIIIIIIIIIIIIIIIIIIHIIIIIIIII

DO YOU HAVE A

HEART OF GOLD?

Or, do you KNOW someone whose good works
and unselfishness deserve recognition? You can
tell about it AND win a valuable prize on

LADIES BE SEATED

Monday. — Friday ABC Stations

TOM MOORE, M. C.

For details of the “Heart of Gold” contest,
read the current issue of TRUE ROMANCE
magazine now at newsstands!

PPPPHP!

WARY

FANE

FULTON

Virginia Field believes
in giving her daughter
an early beauty start

d3eauti^ui other

Promptly at ten, on a recent bright,
;unny morning, we rang the doorbell of
VIRGINIA FIELD’S Park Avenue apart-
ment. Immediately, we were shown into
ler bedroom by Nanny, who has looked
if ter Virginia ever since she was sixteen
months old, and who is not only continu-
ing to look after her now that she’s a
movie and stage star, but also four-year-
fid Maggie, Virginia’s daughter . . . Vir-
ginia, after completing Paramount’s “A
Connecticut Yankee in King Arthur’s
Court,” at once accepted the lead in the
Broadway show, “Light up the Sky.” She
aas been working too hard. So Nanny in-
sists that she have her breakfasts in bed
. . While chatting, in came Maggie. Never
iiave we seen a more perfect little lady.
We were at once captivated. If you like
little girls, especially such adorable ones
as Maggie, as much as we do, then you’ll
understand why this article is about her.
For naturally, Virginia was proud to talk
about her, and how she’s teaching her the
fundamentals of beauty care.

Like many little girls, Maggie had the
labit of biting her fingernails. How to
:ure her of it? Virginia hit upon the
fiever idea of manicuring Maggie’s nails
svery week, and letting her put on color-
less polish all by herself. It worked, for
Maggie is so proud of her pretty nails, and
showed them to us ... At one time she
rebelled against brushing her teeth. Now,
however, she loves doing it. Because she
las her own child-size toothbrush. Vir-
ginia also bought her a delicious-tasting
;oothpaste in a tube designed to please and
Httract youngsters . . . There was a time,
too, when like many little girls, Maggie
iidn’t care too much about her daily
lath. But now' she can scarcely wait
ior permission to put the stopper in the
:ub, turn on the water full force, sprin-
kle in bubble bath, and watch the scented,
loamy bubbles swell up. Sometimes, Vir-
ginia says, Maggie sprinkles in too much,
i But that’s all right — no harm done. Maggie
is also proud of her own little girl’s comb
and brush set, pretty child’s soap, and
towels and wash cloths ... If you are a
mother, too, you may like trying some of
Virginia’s clever ideas for training your
.fiiild in neatness and cleanliness. For, ac-
cording to Virginia’s experience, a little
?irl responds quickly when her daily
oeauty chores are made attractive.

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^City State I

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Lady of Distinction

( Continued from page 53) Jimmy was the
love of her life. Whomever she loved she
loved completely, with, at once, the docil-
ity and devotion of a Victorian and the
healthy frankness of a modern.

At this time, Olivia was young. But
from the beginning, she manifested flashes
of her artistry, her courage and her
great integrity — sometimes to a greater
extent than was good for her. For, during
much of this time, she was not the hap-
piest girl in the world.

Now she is one of the happiest of women.
To hear her you would think no one else
had ever had a baby. Even when her
doctor ordered her to stay in bed for a
whole month she was not discouraged.

“I am so very fortunate, Elsa. I always
wanted to be married and have a husband
and a baby. Now I have a husband and
a wonderful married life and I am going
to have a baby. Now my life is complete.
I hope that my baby will be a boy and
have a personality exactly like Marc’s.”

SPEAKING of Olivia’s early artistry, her
Melanie in “Gone with the Wind” rated
the Oscar for which she was nominated.
She made Melanie a gray wisp of a woman
with a fine fighting soul.

As for her courage, who can forget
her law suit with Warner Brothers? She
contended that Warner Brothers could not
add the time of her suspension — when
she refused to do a picture not to her
liking — to the end of her contract. The
California law, she insisted, read that no
one might contract for anyone’s services
for more than seven years of their life,
not seven years of their working time.

Needless to say, this case — so very im-
portant to Hollywood producers because of
the precedent it set— was long in the Cali-
fornia courts. For the year and a half it
was under way, Olivia was without in-
come. Moreover, she well knew that if
she lost this case, it was unlikely she would
work in Hollywood again, since she would
have few friends in the studios.

But justice triumphed and she won.

A dozen Hollywood stars waited for
the outcome of Olivia’s suit, which, of
course, decided more futures than her
own. Joan Fontaine was among them.
“If Livvie wins,” she told me, “she sets a
precedent which may well free me from
my Selznick contract, under which he now
farms me out for large sums of money,
and pays me very little, comparatively.”

Im sorry about Joan and Olivia’s quar-
rel. But I think it somehow has to do with
Olivia’s integrity. This quarrel has been
much publicized. Little, however, is known
of its origin. Rumor has it that Olivia was
deeply hurt at Joan’s thrusts about Marcus
Goodrich, who is older than Olivia, and
no richer than any man who writes novels
with the magnificent prose and brilliance
of his Delilah. Olivia, on the other hand,
just the year before, says rumor, had been
a staunch champion of Joan and Bill
Dozier when a newspaper headlined an
unhappy episode from his past.

Having admired Olivia for years, I
looked forward to seeing her when she
came East to receive the New York Critics
Award for “The Snake Pit.”

We lunched in her suite at the Plaza.
The living room, decorated by Lady
Mendl, had an old-world elegance which
suited Olivia. We talked over cracked
crab and devilled beef bones— not at all
a “ladies’ ” fruit-salad luncheon — of the
world and all that is happening in it. I
found her amazingly well-informed. And
a dozen times I remember her saying,
“Elsa, that’s what Marc thinks,” or, “I wish
Marc were here to discuss that with you.”
We talked shop, too; of “The Snake

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Pit,” and Olivia’s next release, “The
Heiress.”

“If only,” she said, “ ‘The Snake Pit’ will
help, even in a small way, to awaken the
public to the increasing number of mental
cases and the great need that exists for
more hospitals. Mental illness, today, is
responsible for more disability than any
one other thing — except accidents.”

Olivia visited mental hospitals before
she played Virginia, and observed hun-
dreds of patients. “It was during the war
I first saw mentally ill patients,” she said,
stroking her beautiful Siamese cat, Kath-
erine. (Katherine cannot be left at home
t when the Goodriches travel because she
| grieves herself into a decline.)

“We must face the fact that mental
disease is on the march and deal with it
as objectively as we deal with heart ail-
ments now, and cancer and polio. . . .”

I asked if it had depressed her to play
Virginia or if, like an artist painting a
picture of a morgue, she had rather been
intent upon achieving certain shadings
and, achieving them, felt rewarded.

“It was more that way,” she said. “I do
not think I brought any depression home
from the studio, and Marc never said that
I did, but, of course, he would not, he
would understand.”

THERE have been rumors that Olivia, like
Ingrid Bergman and Rosalind Russell,
among other stars, would produce her own
pictures.

She shook her head. “For me, Elsa,
that would not work. I could not be con-
cerned about my investment and my per-
formance at the same time. So, either I
would not make the money I would hope
to make, or my work would suffer.

“So, Elsa,” she said, pouring my coffee,
“I do not suppose I ever will be rich. You
cannot grow rich on salary today.”

“Not even such a salary as you must
earn?” I questioned.

“You won’t believe me, I’m afraid,” she
said, “but I make two hundred thousand
dollars a year, and have only about
twenty-eight thousand to live on. The rest
goes, in taxes mostly, but also to agents
and other business expenses.”

“And you must live like a star,” I ex-
claimed, as shocked as I always am over
the inroads upon stars’ incomes.

“I must indeed! Our two-bedroom house
with a small pool in the garden — which we
could do without, but it happens to be
there — costs us six hundred and fifty
dollars a month. It is a nice house on a
nice street, but it is not elegant. We must
have two in help. That means another
three hundred dollars a month.

“Soon, as soon as we can find a piece of
property on a hilltop with an ocean view,
we plan to build a home.”

Again her lovely laugh. “But, I do not
mean to sound dismal. I can still choose
to be an actress-producer. But to be only
an actress, that’s my choice.”

“It is a good choice, Olivia,” I said. “For
you are the greatest actress we have today,
on the stage or in Hollywood.”

Katherine, the Siamese, jumped into
Olivia’s lap, complaining.

“Katherine is ruined utterly!” Olivia
said, changing the subject. “Last night,”
she explained, “we forgot to bring in her
food, so we had to order up a tin of sar-
dines. They came boneless and skinless,
with lemon slices and lettuce. Whereupon,
Marc and I, looking at the bill, were
ashamed to look at each other.”

Again, I was impressed with Olivia’s
great beauty. And I was impressed,
too, with her new quiet happiness. She
knows at last exactly what she wants and
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T Is for Talk

( Continued from page 75) their roles in
them.

Betty and Esther told of the fun
they had while making “Take Me out to
the Ball Game.” Audrey had everyone
laughing over her experiences in “Alias
Nick Beal,” while Angela, who had just
finished “Samson and Delilah,” and Deb-
orah, who plays in “Edward, My Son,”
countered with interesting stories of these
pictures.

All in all, the shop-talk was lively and
entertaining.

Deborah’s tea table always looks beau-
tiful, and her Sandwich Cake, which is
simple to make, is divine. She takes a
loaf of uncut sandwich bread, white or
whole-wheat, trims off the crusts, and cuts
it in three even sections, lengthwise. She
puts a different filling between each of the
long slices, puts them back together in
a loaf, and “frosts” the entire thing with
cream cheese, softened with unsweetened
whipped cream.

This time, for one of the layers,
Deborah used deviled egg filling (mash
two hard-boiled eggs very fine, add may-
onnaise to make creamy, dry mustard,
paprika, salt and pepper to taste). For the
other filling, she made a mixture of finely
chopped walnuts and ripe olives, flavored
with a tiny bit of mayonnaise to hold the
nuts and olives together. Minced ham and
creamy Roquefort cheese for the two
separate fillings are also a wonderful com-
bination. She decorates the “cake” in
various ways. This time, on top of the
cream cheese “frosting,” she made flowers
of carrots and for stems and leaves, she
used sprays of parsley. Around the edge,
she had sliced, stuffed green olives (pi-
mento centers) alternated with diamond-
shaped pieces of bell peppers. It was
almost too pretty to eat.

DEBORAH’S cupcakes are a cinch to
make, and the best yet: Cream together
1 cup sugar and V2 cup shortening, until
fluffy. Add 1 cup milk, 2 unbeaten eggs, 2%
cups sifted cake flower, 3 teaspoons baking
powder, V2 teaspoon salt and 1 teaspoon
lemon flavoring. Beat together until just
well-blended. Fill cupcake pans about
one -half full. Bake in a moderately hot
oven (375° F.) 20 to 25 minutes, or until
golden brown. Don’t fill pans too full, and
use paper baking cups in cupcake pans —
makes nicer cupcakes and saves washing
the pans!

Immediately after taking the cupcakes
out of the oven, while piping hot, spread 1
with the following mixture: Combine 1
cup confectioners’ sugar, 2 tablespoons
grated lemon rind and 2 tablespoons lemon
juice and beat until smooth. This makes j
about V2 cup frosting and 24 2%-inch cup-
cakes.

Marble cookies: Here is Deborah’s rec-
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flour, 1 teaspoon baking powder, % tea-
spoon baking soda and 1 teaspoon salt.
Cream together IV3 cups shortening, 1 cup
brown sugar, firmly packed, and % cup
granulated sugar, until fluffy. Add 2 well- ,
beaten eggs and 2 teaspoons vanilla and
mix well. Add mixed and sifted dry in-
gredients and stir until well-blended.
Divide dough into two portions, add 2
squares unsweetened chocolate, melted
and cooled slightly, to one-half dough and
mix thoroughly. Knead the two halves to-
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about 2 inches in diameter. Wrap in waxed
paper and chill in the refrigerator. Cut
dough in thin slices and place on cookie
sheets. Bake in a hot oven (400° F.) 8 to
10 minutes. This makes about 8 dozen
cookies.

100

The End

Do ! Get Another Chance?

( Continued jrom page 43) Financially, I
am back where I started. But the bitter
pills I have swallowed have made me a
better man. I have attained a peace of
mind which I did not think possible.

My troubled moments have been illumi-
nated by the shining faith of my wife,
Dorothy, with whom, for the first time
since we were married, I have an under-
standing and companionship which I had
almost abandoned hope of finding.

If I can live through this ordeal and
grow in stature, because of it, nothing the
future can dish up will get me down.

I am not looking for pity. It’s a good
thing that I’m doing time in jail. It’s not in
the cards that anyone can escape paying
for the wrong things they do. No matter
how the cards are shuffled, you pay, in one
way or another. That’s the law of life.

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I WOULD not want anyone in this world
to get the idea that things were fixed
for me in court because I am a movie star.
I wouldn’t want to walk down the street
and have folks looking at me sideways.
I wouldn’t want it whispered that there
was anything about my trial that was not
on the level.

I feel that Judge Clement Nye was fair
to me. He could have given me ninety
days and that’s what I expected. He gave
me a bonus of thirty days and that made
me feel good all over.

There is little use in discussing here
the sinister intrigue which landed me in
that bungalow in Laurel Canyon at ex-
actly the right moment to meet the police
officers who crashed in at the back door.
No one forced me to associate with those
false friends.

That was my way of going and I
smacked my head right up against a brick
wall. A good thing it was myself I hurt
and not somebody else. But I believe that
bump has cleared my brain. All the con-
fusion is gone. I know one thing for sure —
nothing like this will happen to me again.

There are quite a few answers that I
haven’t got yet in this startling life
drama in which I’m starring. But I’ll get
them all some time. It’s like reading a
continued story in a magazine. You don’t
know the ending until the final install-
ment.

From 1947 on, I found myself surrounded
by an endless parade of new faces and
the word got around that I was a soft
touch. Before long I learned that some of
these new acquaintances were smoking
marijuana and I guess it was inevitable
that somebody would hand me one of those

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harmful reefers and that I would accept it.

Although I was making great strides in
my profession, it is in my nature to be
constantly obsessed with the fear of
failure. These sycophants who moved in
on me built up my ego with false praise.

When I went to the home of Lila Leeds
on that night I can say truthfully that I
had no intention of doing anything wrong.

I did not purchase any marijuana nor had
I any intimation that there was to be mari-
juana at that house.

I did not even know that the cigarette
handed me out of a package of a popular
brand was marijuana. By that time it was
too late to do anything. The police had
pushed their way into the house.

I am telling all this so that other fellows
who associate with the wrong kind of
people may be warned of what can happen
if they let down their moral resistance.

I was approaching the whole business of
smoking marijuana with an amazing
naivete. If you get careless in your way
of going, it’s awfully easy, believe me, to
accept wrongdoing as normal.

I think too many of us are apt to care-
lessly overlook little infringements of
the law and the moral code. Some of us
find ourselves taking one step too far.
Some of us regain our balance before we
are caught. Others keep on refusing to
heed the little warning signals of our
conscience until it is too late and dis-
aster has overcome us.

I’ve always been a victim of over-
amiability. I wanted to please everybody
and often found myself going against what
common sense told me I should do. All
that is over now. I have had long talks
with my good friend and mental counsel-
lor, Dr. Frederick Hacker, and he has
straightened me out on many things.

I was a very lucky guy to be allowed to
serve my time at Sheriff Eugene Biscailuz’s
Wayside Honor Farm. Up there in a pure
mountain air, far from my accustomed
surroundings, I had a wonderful oppor-
tunity to think things out and to con-
template the bitter past with a sense of
detachment. Now I am facing life with
a new sense of responsibility to the world,
to myself, and above all to my wife and
our two sons.

No matter what is cooking for me in
the future, I am dedicating my life to dis-
pelling the cloud hanging over my family.
I know that my moral fiber has toughened.
I know that I will make my boys proud
to call me their father. Could a man have,
a greater incentive?

I said it before and I say it again.
You’re the jury. What’s the verdict to be?

The End

"REAL ROMANCE COMES
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It Happened on Ice

(Continued from page 44) kid, and I kept
on skating. When I got out of high and
the first Sonja Henie troupes were being
organized, and I got a chance to join one,
it looked like good fun — and it was, too, for
a couple of years. The money was nice.
The folks in the show were swell. Then I
went into service in 1942. When I was dis-
charged in 1945, I was. as restless as a lot
of other guys in the same spot. I didn’t
have a regular girl or even a regular job.
How was I to know, one afternoon, when
I was coaching down at the Westwood rink
that a certain movie starlet was going to
walk in. . . .

She came with her own coach and she
hadn’t any more than laced up her skating
shoes when I knew she’d never been on
ice before. But, even though her ankles
wobbled like crazy, she hadn’t skated
around once, when I saw she’d be good.
She’s not built like an athlete, praise be.
She doesn’t think like a girl athlete — so I
was surprised how quickly she learned six
dances on skates.

IONG before that, you may be sure, I
had moved in on the introduction. Mike
Kirby’s wife’s sister arranged it. Mike,
Sonja Henie’s skating partner, is a swell
guy with a swell wife. And, natch, I have
a big enthusiasm for his sister-in-law
since she’s the one who said, “Miss Powell,
may I present Geary Steffen?”

I asked her to go out dancing, expecting
that Mocambo rap right in the wallet.
But when I suggested it, she said, “I like
really to dance when I go dancing, don’t
you? Can’t we go to the Biltmore Bowl,
or the Grove, or someplace like that?”

She wasn’t yet eighteen, then, but she
seemed much older. She actually has the
mental maturity of a woman of thirty. I
go for the way she dresses. I went for it
that very first night, but I went even
bigger for the way she danced, and the
way she conducted herself in public.
Everybody always recognizes her every-
where, but she’s so sweet and so nice
about standing still for autographs that
they fall plumb in love with her.

For instance, last year, in October, when
I was trying to be an insurance man in
Chicago, Janie came to town for three
weeks of personal appearances. Of course,
it wasn’t completely coincidental. We
plotted and planned and wrote letters and
sent telegrams for weeks before we pulled
that off, and while she was in town, we
really had a ball.

One of the places we went to was the
Camelia House in the Drake Hotel, which
is a very elegant and kind of a stiff place,
but we wanted to try out the band.

They began swinging into “Put Your
Little Foot Right Down.” Practically all
the other folks there were the older set
and they were doing very sedate fox trots.

But Janie and I found ourselves a little
corner of the floor and really started
stepping. We looked up and saw an older
man and woman beaming on Janie. “I wish
I could do that, Miss Powell,” the man
said.

Janie beamed right back at him. “Why,
you can,” she said, “and so can your wife.
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we were, with a lot of laughter.

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seven years I’d had at home. I was very
sentimental about it, and she knew it and
she really went to town on it, and not by
just spending money, which anybody who
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about food, she trimmed the Christmas
tree for the dinner table with cookies she’d
made. They were cut in the shape of little
Christmas trees, out of the chocolate cake
dough that she knows I dote on.

Janie had never done any skiing before
this past winter, but just like skating, she
mastered it fast. Having been in the ski
troops in Italy during the war, I’m fair
on the things, but I’ll tell you that after
one week of coaching, Janie got a medal
for coming expertly down a hill.

My girl says that our romance is ro-
mance in a deep freeze. She’s nearly right
at that, if you remember that dry ice can
burn you faster than any flame, if you
don’t know how to handle it. But it
can also keep things perfect, practically
forever.

Of course, Janie is kidding me with that
deep freeze crack, but it is funny, that for
such a sun-worshipper as I am, everything
I do is associated with ice and snow.

I could have stayed in Chicago and the
insurance business, but what good was
that when I was in love with a girl who
had to stay in Hollywood? I did stick it
out in Chicago for two years. We wrote
every day. Sometimes we wrote twice a
day. And was I homesick!

I AST December when it looked like I had
i a chance at setting myself up in busi-
ness in Southern California, having my
own firm, I jumped at it. It’s a new prod-
uct line, so I can’t talk about it much but I
wanted to mention it because it has to do
with Janie and our future together.

How well 1 do at it influences when
Janie and I will get married. For as much
as I love Janie, as much as I want her to
be my wife, I know I’ve got to be set in a
real job before we tackle the big problem
of marriage. Janie couldn’t stanfi a hus-
band who was just a hanger-on and I
would blow my top before I would be such
a husband.

We pore over house-building and house-
furnishing magazines together. We drive
around and price lots. We’re pretty sure
we want to live in the Valley, not too far
from her folks or mine. We know we want
a place big enough for kids to grow up in.
We’re trying to plan sensibly for the won-
derful future ahead.

If you want the whole truth, the big
push behind my coming back from Chi-
cago was Janie writing me that she read
my letters mornings as she drove over
Coldwater Canyon, on her way to the
studio. Coldwater Canyon is one of the
steepest and most winding roads you ever
saw.

We’ve never had a serious quarrel of
any sort, but the nearest we’ve even ever
come to a skirmish is about the way she
drives. You see, she’s too good. She’s so
good she drives a hot ninety, if you’re not
there to yell at her, and the mere thought
of her swinging around those curves and
reading a love letter at the same time was
enough to pack me up and bring me home.

It was the evening of December ninth,
when I reached Hollywood, and there was
Janie, bubbling over with sweetness and
happiness. She had on one of those peasant
outfits, which are my favorites. She had the
records I like best piled on the machine,
and on the table was my favorite roast
beef and Yorkshire pudding, which she
had fixed, and for dessert there were those
wonderful banana puffs she makes. When I
realized that from then on, I wouldn’t have
to be writing her and dreaming about her,
and wishing I could hear her voice, but
that I could see her every day, and eat that
food, yeow!

Imagine having something like that
come skating into your heart. How lucky
can a guy get?

The End

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( Continued from page 50) satisfaction to
the male protective instinct. A man wants
to feel responsible for a woman.

“But Belinda’s greatest appeal was her
spirituality,” said Jane. “She was deaf
to the world and did not know that spir-
ituality is not fashionable, that it has been
ridiculed. People build up defenses to
protect them from being hurt.”

She recalled a remark made by her
father when she was a child in St. Joseph,
where he was Mayor for a time. He said:
“You can’t live until you live.” It took
her some years to realize what he meant.

When Jane parted from Ronald Reagan,
she suffered gravely, and her friends were
concerned. She revealed nothing, made
no explanations. To have done so would
have been going against the principles she
learned as a child. One of these, she passes
on to her own two children: “Always live
up to your principles.”

Jane veered a little when first she hit
Hollywood. She told a fat lie and felt, as
she told it, that she would fry in it.

Previously, Jane had tossed her beauti-
ful legs in the chorus line of “The King
of Burlesque.” As a child, she made her
debut on the radio, which she still loves.
She had sung with bands and danced in
floor shows, but she had never appeared
in a dramatic role. A Hollywood agent
took her to interview Bert Lytell for a
part in a picture he was preparing. It
was essential, the agent told her, that she
cite previous drama experience.

“I acted in stock at the Lyceum Theatre
in St. Joe,” she lied to Lytell.

“When were you there?” Lytell asked.

“Four years ago,” said Jane.

IYTELL looked at the seventeen-year-
old girl and mused: “That is a coinci-
dence. I was playing the Lyceum Theatre
that year.” Jane wriggled unhappily and
left the studio after Lytell said he would
keep her in mind.

“You did all right,” the agent told her.
“I did not,” wailed Jane. “I lied and he
lied and we both knew we were lying. The
old Lyceum Theatre burned down ten
years ago.”

Jane returned to her principles. She
lied no more but took up with sham. In
1935, a girl had to be sultry with sex to
get anywhere in Hollywood. Jane dili-
gently sat herself down to study the like-
nesses of Joan Crawford and Greta Garbo.
Determined to equal, if not surpass them,
she painted on a mouth “big and red as a
toy freight train.” Around her enormous
eyes she affixed lashes, not in strips, but
singly, so she would not be obliged to
remove them at night. They were so long
and thick, that when she gave a man the
upsweep glance, he felt a breeze.

Again the old home influence intervened.
On St. Valentine’s Day, she received a big
lacy heart from her young brother Morey,
called Monk by the family because of his
imitative monkeyshines. The verse on
Monk’s valentine to sister Jane read:
“Powder is powder
Paint is paint.

I like a gal

That these things aint.”

Jane slumped onto the bench of her
dressing table and stared at the paint job
in the mirror. She closed her eyes. When
she opened them the big fake lashes were
wet. She reached up and pulled them out,
one by one. Then she wiped away the
rouge-freighted mouth, got up and washed
her face. “Love me as I am or don’t love
me at all,” she sniffed.

Since that day, no cosmetician has
touched her. She wore no make-up as
Belinda. She resumed cutting her hair,
brown of sheen with threads of gray you

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wouldn’t observe, if she didn’t call them
to your attention. What we now have is
the original Jane of old St. Joe, whose
mama told her never to kiss a boy in
public, and she never has. That has noth-
ing to do with her loneliness, though.

Actually, she has loads of friends, treas-
ured up from her earliest Hollywood days,
who would take her out every night if
she wanted to go. The Jack Bennys, who
were companions in crashing Hollywood
with her, begged her not to be lonely
when she divorced Ronald Reagan, but to
come to their home at any hour. Ann
Sheridan is another chum. Another old
friend, Betty Kaplan, gets a telephone call
from Jane practically every day. Barbara
Stanwyck and Olivia de Havilland, fellow
nominees with her for the Academy
Award, join her to joke over “the bitter
rivalry” the columnists play up.

There is, too, Lew Ayres. Lew had just
called, she admitted. He said, she quoted:
“I do not want to marry Jane Wyman.”

Seems poor Lew, erstwhile gentleman,
had been driven mad by columnists calling
to ask his intentions toward Janie. Finally,
Lew blew. “I don’t want to marry Jane
Wyman,” he roared.

IV O SOONER had he banged the receiver
11 than he dialed Jane and blurted: “I just
said I didn’t want to marry you.”

“Well?” said Jane.

“I didn’t mean that.”

“Well!”

“I meant to say that right now, I don’t
want to marry anyone.”

“Nor do I,” Jane said.

“Well, what do you say when they call
you?” Lew asked.

“I say hello and goodbye. They listen to
nothing in between anyhow.”

Talking of Lew further, Jane said: “I
did not know Lew when we started to
work on ‘Johnny Belinda.’ But, with time,
I discovered he has depth and a versatile
mind. Lunching and dining together, we
became friends. Friendship is rare in
Hollywood as elsewhere. But only ro-
mance makes copy.”

One of her men friends says that Jane
keeps people at a distance. Though she
is not aware of any aloofness, she is some-
thing of a solitary, one of those fortunate
mortals who has found a vocation and is
dedicated to it. When she is doing a
picture, she is immersed in the character;
no one ever sees her after seven-thirty at
night. When she finishes a part, she says
she feels like a soul set adrift, floating
about in quest of another character to
grow into. “I really have two worlds,” she
said. "The private one is filled with my
two children.”

Her daughter Maureen, attending Chad-
wick School in Palos Verdes, had been
promised a trip with her mother to Eng-
land, where Jane will do a picture with
Alfred Hitchcock. But Ronald Reagan,
working in England for some time, wrote
Jane advising that Maureen remain at
home. While assuring Jane that she
would enjoy England and her work in
studios there, he felt the task of looking
after a child, overseeing diet with ration-
ing, would bear too heavily on her.

Jane hated to break the news to Maureen,
knowing her heart was set on seeing
England and on reunion with her father.
She decided to drive out to the school and
let Maureen read her father’s letter.

Maureen clasped it joyfully, read the
advice soberly. When she handed back
the letter she said: “I shall stay here,
Mother. I know Daddy is right.”

Driving home in her car, Jane had the
elation of feeling she had received an
Award in her private world. Home influ-
ence was successful. Her daughter was
living up to her principles.

The End

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(Continued from page 72) the last seats
on that plane. Her countrymen had in-
sisted on that. She had brought many
medals, many honors to Czechoslovakia.
This they could do for her.

“Go, Vera,” her aunt had said. “Go to
America. Be safe and happy.”

Holding the bouquet, tears in her blue
eyes, she had promised herself, and them,
“Someday, I will bring you flowers from
America. I will make good. I will be a
star. There will be photographers, repor-
ters, people wiil applaud. . . .”

When she left her home in Hollywood,
she had the gardener pick carnations for
her. “I want them all. All of them,” she
said. Now, preserved as best they could
be, the carnations were with her.

As she looked out of the plane window
into muggy, gray skies, she remembered
that other plane from Prague, how, below
her, she had seen the movement that
meant German troops were marching into
the Sudetenland.

The plane pitched up and down in the
stormy sky. Vera, sick and scared, thought,
“If something should happen to me, no one
will ever know, for no one knows where
I am.” Suddenly the storm stopped. The
plane flew straight and steady. The sun
came through. Vera looked below. “Why,
we’re over Czechoslovakia,” she said to the
stewardess. “Yes,” she smiled, “how did
you know?”

HOW did she know? She knew every
familiar landmark. Every little field.
Then they were landing at Ruzin airport.
Vera could see the letters on the building
and the chill returned. When she left, they
had been in Czech, English, French and
German. Now the top word was in Rus-
sian. As the plane taxied to a stop and an
officer, wearing a Russian uniform, entered
the plane, Vera felt a choking sensation.
Her people had suffered so much. They
had fought for liberty, and now. . . .

She was eager to go to her aunt’s house
where her mother was visiting. She wanted
to see other aunts, uncles, and her old
friends; all who had helped to make her
stardom a reality.

She got into an old open-air taxi with
the doors off. The old man, who so proudly
had appointed himself to drive her around,
headed for the apartment building where
her aunt lived. There were no lights. No
signs but at last she found it. It was
her aunt who opened the door, and iust
beyond her stood her uncle. They looked
at her, holding her wilted flowers, as if she
was a vision.

“I am real,” she smiled. “And I have
brought you flowers from America. Car-
nations. . . .”

“I knew it. I knew it. I knew that be-
fore we died, we would see you,” her aunt
cried. Her mother, seated at a table,
drinking coffee, could not believe her eyes.

“Oh, no, no!” she said. “Yes, yes,
Mama,” smiled Vera reassuringly. “And
we have five more days here . . .”

Five days to visit friends and rela-
tives, to revisit the Academy where she
had studied ballet, and her old school.

It was a few days later that the old taxi
stopped at the place she had saved for the
last. Zimni Stadium.

It was much larger now, and seated
many more people. Vera walked slowly
around and it was as if all the familiar
faces and places, so important a part of
her promise to become a star, were mir-
rored in the Stadium’s ice. She could see
across the years, the Christmas she had
taken her first halting steps upon that ice.
The daughter of a jewelry manufacturer,
she had lived in a comfortable house in

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Prague. But she had never skated. She
had been a sickly child who spent most
of her time reading. Reading, studying,
and writing poetry. She had wanted to
be a doctor, a professor or a scientist. So
when her brother had given her the skates
for Christmas, she had looked askance at
him. “Why, Rudy? I do not skate,” she
had said.

“But you should,” her brother had in-
sisted. “You stay too much indoors, read-
ing and writing. It is not good for you.
You must get outside.”

Soon, her whole life had been wrapped
around the skimming blades. She would
start to school at five a.m., stop by
Zimni and skate for three hours before
it was time for her classes to begin.
But the ice was so clean, so beautiful,
she often would forget time and would
be late getting to school. She always
used the same excuse. She must skate.
She was sick She must get exercise.
She remembered her old professor’s face.
“Come here, Vera,” he had said one
day. “You know you are making a big
mistake. You have a talent, skating. That
is your life. You have no talent to be-
come a doctor, professor or lawyer. Do
not make any more excuses to me or to
yourself. Stick to your skating.”

She remembered the empty Stadium as
it had then been packed with people, with
cheering applause when she had won the
Czech championship.

Ilf EXT, gazing out over the ice, she thought
11 of the Stredham ice rink in London
where there had been more crowds, more
applause. There was the day she had
won the coveted English Gold Medal.
The crowds cheered, but she had been able
to see only nine people. The eight judges
and Mrs. Durk. the strict little Cockney
woman with the henna hair, at whose
boarding house she had stayed. . . . Vera
must study harder with her English. Vera
had not spun well that day. Vera must get
up at seven and do exercises. Vera must
work harder, harder, harder, if she would
be a star. She could see Mrs. Durk’s proud
face that day.

Outside the Stadium, the old taxi driver
drowsed in the sun, while Vera walked
around and around, remembering. Now
the ice became the scene for the Olympic
Games at Garmisch, Germany, where Vera
had won more medals. Although Sonja
Henie had been awarded the champion-
ship. Vera had been in her dressing room
that night when she had answered a knock
on the door to a Storm Trooper who had
clicked his “Heil, Hitler!” and announced
that “Der Fuhrer” wanted to see Vera
Hruba right away. In her brown fur
coat and high red boots, she had followed
him, wondering curiously what Hitler
wanted of her. The “Fuhrer” had been all
enthusiasm. He had wanted to congratu-
late her, to tell her he thought she should
have won first honors. Also, with her
talent, she should skate for Germany. She
would get much further in her career.
“Thank you, but I am satisfied with my
own flag,” Vera had told him, with dignity.

Then the ice was Madison Square Gar-
den in New York. Here, Vera knew the
promoter and could practice free. Like
many immigrants before her, she had
come to America with emoty hands and
with a heart full of hope. Back home, she
had won all the honors to be had. Forty-
five medals, four Czech championships,
and now she wanted to come to America,
to turn professional, to become a star.
When Vera and her mother boarded that
last plane from Prague, they could only
take $30 with them.

In New York, Vera found a girl friend
from Czechoslovakia who agreed to share
a one-room apartment with them and help

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108

with the rent. From a promoter she knew,
she borrowed money for food. They could
live, she found, on $7.00 a week. Vera
would miss meals then, and gladly, and
walk thirty blocks to see a ten-cent movie.
Sometimes this extravagance worried her.
“Never mind, Vera. We will make it. If
you want to be an actress, you must
watch people act,” her mother said.

Then, standing in the Zimni Stadium on
that nostalgic day, Vera remembered an
“Ice Carnival” in Pittsburgh, another at
the Hotel New Yorker, “The Ice Vanities,”
a show that ran into bad luck. She re-
membered the months she didn’t get paid.
Leaving hotels in the middle of the night,
going out by way of fire escapes because
they couldn’t pay the rent. When Vera
became ill with pneumonia and was taken
to a hospital, she protested that she could
not stay there. How was she to pay, she
worried. But the head doctor was a Czech.
“You have done much for our country,
Vera Hruba. Do not worry about the bill.
This much I can do for you,” he said. She
skated again, but not for long. Her visa
expired and unless something extraordi-
nary happened, she would have to leave
the country she had grown to love. She
went to Canada to wait until she would be
notified as to what her fate would be. If
she had to return to Czechoslovakia, it
would be to a concentration camp or to
die. That she knew. She had talked too
much against Hitler over here. Was
this then to be the end of her promise?
Again, there was help, when she needed
it most. Some influential people saw to it
that Vera’s number was in the next quota.
Jubilantly, she crossed the border and re-
joined “Ice Capades.”

HER last memory that day in the Sta-
dium concerned a rink on a Hollywood
sound stage at Republic Studios. Herbert
Yates, president of the studio, had signed
the whole troupe to make “Ice Capades of
1941.” And Vera was doing a very fa-
miliar scene. She was not the star. Her
part was very small. A very few
lines, but believable, almost too believable.
Hers was a very dramatic scene — the
show had gone broke — she was a Czech
skater who pleaded with the bosses to
allow her to stay — not to be sent back to
war-torn Prague. And she was convinc-
ing. Amazing, thought those around her
on the stage. Almost as if she were really
living the part. Vera had already lived it.

Crowded with memories, the five days
Vera and her mother had at Prague passed
all too soon and they were on the plane
for Paris again. There were tense minutes
at the airport when Vera thought she
would never get on that plane. The officer
checking bags and passports ignored her.
Finally, she thought, this must be it.
They didn’t intend to let her go.
The other passengers and her mother had
been permitted to leave. But the officer
came back. He did not want to go through
her bag, he told her. He could not have
failed to do so before the others. “Please
tell Americans we want more American
pictures,” he said. He wore a Russian
uniform. But he was still a Czech, thought
Vera happily.

In Hollywood, today, Vera is not satis-
fied with just being successful. She must
strive always to become a better actress.
Maybe another film will get into Czecho-
slovakia. To help warm the chill, ease
the hearts and the doubts of her people.
Show hope of happiness and living as it
is. As it can be.

And in her house on its own little hill-
top in the Valley, when the California sun
warms the spicy fragrance of carnations,
Vera Ralston remembers a plane to Prague.
And a promise.

The End

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A Letter to My Daughter

( Continued from page 69) babies have
done it to them!

I'm ignoring books and working on the
theory that, if you love a child enough,
the best rule to follow is to let the child
know how much you love it and I’m going
to cling to that rule until you’re grown-
up. I hope to be around, of course, in case
you want some advice, but I don’t intend
to serve it with every meal. Nor will you
ever hear me saying, “Do as you’re told,”
or “Mother knows best!”

Instead, I’m going to be a copycat and
treat you just as my mother always treated
me; like a person who had a good mind
and could understand reason. I’m going
on record on this score, too, with this
letter to be published in Photoplay.

My mother had good plans for me. If I
did anything she didn’t want me to do, she
had a special look that I recognized. If
there were people around, I just stopped
doing whatever I had been doing. When
the company left, mother would explain
why she had looked at me. If we were
alone, she’d immediately tell me what she
didn’t like, and why.

THERE’S one question everyone has been
asking me since the day you were born.
“Will you let Linda Susan be an actress?”

My answer is the same now as it was
then. “If she wants to act, she may.”
However, I’m pretty sure you won’t be a
child actress and here’s the reason. When
I started acting, my two brothers were
almost grown-up and mother could spend
all her time taking care of me, without
hurting them. With you, Linda Susan, it’s
quite the opposite. Your father and I
want two or three more children. If you
went into movies, I’d have to neglect the
other children. And that wouldn’t be fair.

Already, you’ve shown signs of what is
rudely called “ham.” You get such keen
enjoyment out of being in front of a
camera. One of the first things you learned
was to “mugg” when a photographer was
around. So it won’t be any surprise if you
choose to act later on!

I’m going to teach you to dance soon
and later you’ll have professional dancing
lessons. These are sure to develop poise,
and poise is one of the best assets a girl
ever can possess. And, if you wish, you’ll
learn to sing, too. I'm planning to teach
you some songs myself first and we will
start with “Baby Take a Bow.” After all,
that’s the song I started with, so why not
you, too?

More than anything else, I don’t want
you to be a show-off. It’s a bad fault.
I hope we’ll give you enough self-con-
fidence so the idea of showing off will
never occur to you.

In an earlier paragraph, I said I wouldn’t
try to give you any advice. I meant it,
too. But that won’t prevent my trying to
tell you some of the things I’ve learned, in
the hope that they’ll keep you from
making mistakes and hurting yourself.

For instance, I hope that you learn to
judge people well. But I assure you, there
are no infallible rules about this. I started
out by distrusting people who didn’t look
me straight in the eye, or who had a limp,
fishy handshake. But I’ve learned since,
that some of the most shifty-eyed people
are quite trustworthy, and some with the
firmest handshakes can be insincere.

Letting small factors like these influence
you might prevent you from seeing real
values in people. This not only applies to
physical characteristics and traits but also
to labels. Be suspicious of labels, Linda
Susan, for often they hide more than they
reveal.

That reminds me of one of my bad faults,
which I’m praying you haven’t inherited.

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110

I make up my mind far too quickly about
people. One look and I know just how I
feel. My father’s the same way, and it
isn’t good. If a person does just one little
thing that disappoints or displeases us,
we’re through with that person. It’s cost
us some friends. But I want you to like
people and I hope they’ll like you.

I have some definite ideas about per-
sonal appearance and habits and I expect
to guide you gently along those lines. Good
grooming is important to me and sloppi-
ness is unforgivable.

I hope, too, you’ll agree with me that a
girl should know something about clothes.
We’ll look through the magazines together
and see what’s new in the style world. I
hope you’ll avoid the extremes in clothes
as I do. I try to dress so I’ll look my best
and that’s about the only advice I can give
you on that score.

Another thing, you’ll be permitted to
choose your friends. Your parents aren’t
going to pick them for you. We hope we’ll
help you develop good judgment and that
we’ll be able to trust that judgment, for
parents who don’t trust their children are
really saying they don’t trust the manner
in which they brought up those children.
Your father and I have already discussed
this and he feels as I do.

A great many people won’t believe this —
they’re certain Shirley Temple lived a
fairy-tale existence — but I’ve had my
disappointments and heartaches. And
you’ll have yours, for there’s no way to
escape them. Heartache is part of grow-
ing up and, even if I wanted to, I couldn’t
prevent you experiencing it.

I hope you’ll come to me with your
troubles and ask me to help. That was the
relationship I had with my mother.

Above all, I want you to be an individual
without being “different.” I want you to
make up your own mind, establish your
own values, but, at the same time, I want
you to remember you are part of society
and must live by the same rules as every-
body else. You aren’t entitled to any
special privileges or rights and, please,
don’t expect them.

11HE biggest occupational hazard in acting
. is one’s publicity — that is, if you ever
start believing it. When you do, though,
something always happens to bring you
down to earth.

Take, for example, an incident that hap-
pened to me not long ago. I was driving
forty-two miles an hour in a thirty-five
mile zone when — zoom! — a motorcycle
policeman motioned for me to pull over
to the curb. When he examined my
license, he said, “I know your father and
I used to know the people who lived next
door to you when you first became an
actress. I almost feel as if I know you.”

I smiled at him. I told myself that here
was one time when being Shirley Temple
would really pay off. Then came reality.
The policeman handed me a ticket.

“Got to give you a summons,” he said.
“That proves we enforce the law against
everybody, even a movie star. Now, if you
were Mrs. Jones, I might have lectured
you and let you go. But I can’t do that
to Shirley Temple. Give my regards to
your father.”

That just reminded me of an old lesson.
Not only do I have to obey all the laws and
rules, but I have to obey them even more
carefully than most. The same will apply
to you, Linda Susan.

I hope this letter doesn’t sound stuffy.
If it does, forgive me and remember I
haven’t had any more experience being
a mother than you’ve had being a daugh-
ter. I expect we'll both learn as time goes
on. I know I’d better. One thing I really
intend, is for my daughter to be proud of
her mother

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The Power of
the Powder Room

(Continued from page 46) Arlene stood
before the powder room mirror trying to
keep up her courage with a fresh lipstick,
when the producer’s wife took one long
look and hurried back to her husband.

“I’ve just seen the most beautiful girl!”
she enthused. “I don’t know who she is
or what she does, but if you don’t get her
signature on a contract, you’re mad.”

The husband seemed to agree. For, after
questioning the head waiter as to the iden-
tity of the beauty, he summoned Arlene to
his studio, got her name on a contract and
one week later gave her the lead opposite
Red Skelton in “A Southern Yankee.”

The strange locations of powder rooms
in some of the night clubs also has caused
moments of embarrassments. At Roma-
noff’s, the powder room is to the immediate
left of the entrance.

Eager to show off and impress a New
York beau, a Hollywood celebrity had, on
her way to Romanoff’s, repeatedly assured
her escort that he would enjoy this favor-
ite dining spot. “It’s so cozy. Everyone
knows everyone else,” she said, as they ar-
rived. “It’s really intimate, you know.”

At that precise moment, her escort en-
tering Romanoff’s, flung open the powder
room door, thinking it led to the dining
room. He stopped dead, his eager look of
expectancy freezing into something bor-
dering on panic.

For there, before him, were some strange
women tugging on their girdles; Rosalind
Russell adjusting her hat and Ann Miller
straightening her stocking seams.

“Intimate,” the New Yorker gasped,
turning his bug eyes on his friend. “How
intimate can you get.”

AT the Press Photographers’ Ball at Giro’s,
Mrs. Duryea, who came disguised as a
man, couldn’t get into the powder room.
Her disguise was so complete that a tipsy
guest constantly blocked her efforts to
enter the powder room. “Psst, buddy,” he
cautioned, “you got the wrong place. Over
there, pal, over there.” And to make cer-
tain that his newly found chum made no
mistake, he attempted to steer her to the
men’s room. Finally Dan, who was dressed
as a woman, smuggled his wife past the
man to her original destination.

Even jaunts to and from powder rooms
can have lasting effects. It was, for instance,
Lana Turner’s graceful walk in those early
days of her career, that determined her
fate. A friend of Mervyn LeRoy, who had
Lana under contract, called Mervyn’s at-
tention to the authoritative grace of the
teen-age hopeful as she swung by their
table at the old Trocadero. “Now look,” he
said, as Lana walked back. “Where did a
kid like that pick up such grace?”

Next day, Lana was walking just as
gracefully up and down a pair of stairs on
Stage Five, while three pairs of eyes were
fastened on her. Mervyn, a dance director
and a producer, nodded agreement when
she had finished and the role in “Ziegfeld
Girl” that had been intended for another
actress was given to Lana.

News of great importance often is learned
through powder room channels. After “The
Hucksters,” Ava Gardner was dining at
Mocambo with Howard Duff. She was
feeling low. Nothing had come up at her
studio since her role opposite Gable.

After dinner, she excused herself and
retired to the powder room. The maid was
all smiles. “I’m sure happy for you, Miss
Gardner,” she said. Ava looked blank. “I
know two other girls who sure did want
that role real bad,” the maid continued.
“What role?” Ava asked.

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“Why that ‘One Touch’ of Something-
or-Other that you just got out at Uni-
versal!” The maid smiled. “I just heard
two ladies talking about it.”

Ava floated back to a startled Mr. Duff.
“I got it, I got it,” she cried. “ ‘One Touch
of Venus’ is mine. The powder room maid
just told me!”

It was in a powder room that Celeste
Holm learned that she had been chosen for
a role in “Gentleman’s Agreement”— the
role which later brought her an Oscar.

There are certain glamour girls, who by
a trek to the powder room can empty night
club tables of most women customers. Let
Lana Turner or Rita Hayworth edge
toward Mocambo’s retiring room and, one
by one, women, especially out-of-towners
find excuses to follow them. And when
the stars return to their tables, quarters
drop generously into the maid’s dish ac-
companied by the rattle of many questions.
“What was that perfume she was using?
What lipstick does she wear? Was that
real lace on her slip? I could have sworn
those eyelashes were false.”

Incidentally, there are several loyal
powder room maids who have heard tales
of woe from many Hollywood beauties. A
powder room attendant must have a heart
of gold and nerves of steel.

There was the night at Ciro’s when the
fussy wife of a radio comedian removed
her costly diamond ring while she washed
her hands, only to discover a minute later,
that the ring was gone.

POWDER room traffic was halted lest run-
ning water dislodge the ring, had it
fallen down a drain. The night club
plumber failed to answer repeated phone
calls. Other customers grew impatient and
the comedian’s wife became hysterical.

A final call to the plumber got an answer.
“Where have you been?” howled the man-
ager. “Come to Ciro’s at once.”

“But,” sputtered the plumber, “I just
left Ciro’s. I’ve been there all evening.”

Hollywood powder rooms also have been
the scene of meetings of long-time friends
or acquaintances. After the premiere of
“Johnny Belinda,” Jane Wyman and sev-
eral close friends gathered at a famous
strip cafe for supper. At a nearby table
sat a party of tourists who cast many
glances in the direction of Jane’s table.

Later, in the cafe powder room, Jane
noticed one of the tourists, a middle-aged
woman with a sweet face, smiling at her.
The woman, finally, got up the courage to
* speak. “I hope you’ll forgive me, but well—
I just wondered — ” She hesitated and Jane
waited, expecting the usual autograph or
picture request. The woman continued.
“You are little Sarah Jane Fulkes, aren’t
you? I went to school in St. Joe, Missouri
with your mother. . .”

Jane stopped her by grasping her hand
warmly. “I am Sarah Jane,” she said, “and
to be remembered like this, at this time, is
one of the most wonderful things that ever
happened to me.”

They sat down in that powder room and
talked of Jane’s childhood in St. Joe.

Secrets are whispered in the powder
rooms that change the entire course of
lives. For instance, a woman, newly di-
vorced from an actor, met her ex-hus-
band’s fiancee in a powder room. When the
fiancee rejoined the actor, she firmly
handed back her engagement ring. “I’ve
just learned about your built-in shoulders,”
she snapped.

To her amazement, the actor smiled
pleasantly. “That’s all right,” he said, “in
the men’s room just now, I learned your
pearly teeth are caps.”

Regretting all that her rashness had cost
her the young lady burst into tears and fled
back to the powder room.

The End

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The Peck Marriage Puzzle

( Continued from page 55) when he came
in, but manlike, he had his coat just
thrown around his shoulders, and no hat.
Now, he was stretched out enjoying the
fire, completely relaxed.

“I want to ask you just one thing,
Louella. How did you find out that Greta
was expecting another baby? I didn’t know
that myself.

“Oh, I’m smart that way,” I told him.

“When my agent called and said you
had asked him, I was flabbergasted,” Greg
admitted. “Greta hadn’t said a word until
you phoned.”

“Did you ever stop to think that it might
have been Greta’s condition at that time
that made her difficult,” I suggested.

“But she was not!” he protested quickly.
“It was all my fault. Louella, I will tell
you why I will never have any really
serious trouble with Greta. 1 love her and
she loves me!”

If he had written a poem, and delivered
himself of a eulogy, there could not have
been more sincerity and heart in what
Greg said.

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HE WAS thoughtful for a moment be-
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my mother and father separated and there
was much bitterness.

“I went from one relative to another,
part of the time with my father and part
with my mother, accepting, first my
mother’s religion, and then my father’s.

“I’ve got two wonderful kids, Jonathan,
four-and-a-half, and Steven who is two
and now, maybe, there is a little girl on the
way. I don’t want them to have that kind
of a life, and I can promise you, they
won’t.”

I asked, “Greg, do you think Hollywood
had anything to do with the occasional
quarrels you and Greta have had?”

“It’s silly to argue that Hollywood does
not make a difference,” he admitted.
“Everything here is so emphasized.

“For instance, an executive in the auto-
mobile business can have an old-fash-
ioned quarrel with his wife, and nobody
cares, except, maybe, their family. But it
never gets into the newspapers.

“There are so many adjustments to make
in Hollywood. When I was making $100 a
week on the stage, nobody cared if Greta
and I had a battle. Now we may not make
headlines, but we’re a feature story by
Louella Parsons!” But he winked when he
said it! “Not that I am complaining,” he
went on. “I feel I am obligated to all the
columnists. They have been good to me
and I feel I have no right to squawk the
first time they write something that isn’t
one hundred percent complimentary.

“Greg,” I said, “you are one of the
nicest guys I ever met. We who write and
write pleasant things in the papers about
actors, find we get blasted as gossip mon-
gers if we write one thing on the personal
side.

“I do not feel that way,” he answered. “I
have my job to do and you have yours.
Have I any right to object that you printed
a story about me which was true?

“I have gradually been building up a
philosophy, Louella,” he said, thought-
fully, “and that is, in order to live happily
and fully with others, we must first learn
to live with ourselves. If I hadn’t been
wrong in the first place in squabbling with
Greta, there would have been nothing
unpleasant to print.”

How do you like a guy like that? Me?
I’m crazy about him.

“The baby is due in the early part of
August,” he went on. “If I do ‘Quo Vadis’
in Italy, I will have to leave the last of
July. I figure I’ll he finished with the pic-

. . . say
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ture in October, and then Greta will join
me. We will visit her kin folks in Finland.
She’s got a lot of relatives over there I
have never met and we will descend on
them bag and baggage. After that, we’ll go
on to Sweden and Norway and Paris and
London and all the spots that have just
been names to us before.

“No,” he shook his head in answer to my
question, “I don’t think we will take the
kids along on this first jaunt. I’d like to
make this trip just with Greta. The chil-
dren are too young to get anything out of
it, anyway. And to Greta and me it would
seem like the honeymoon trip we couldn’t
afford when we were married.”

“That sounds wonderful,” I said.

“Yep,” he grinned, “now all I have to
do is to talk her into leaving the children!”

(DON’T know when I’ve had such a good
time during an interview. My guest
seemed right at home and in just the right
frame of mind to sit around and chat. In
fact, when the fire seemed to be dwindling
down to embers, Greg put on a couple
more logs and settled himself down again.

“Is it true, Greg,” I asked, “that you
refuse to do modern stories, or stories in
which you wear modern clothes?

“Yes, for the time being, anyway. I
prefer to do adventure yarns. I’m just not
a drawing-room boy and I feel ill at ease
in the suave roles.

“Next to my family, the thing I love
best in life is my work,” he said. “I don’t
care how hard I work, either. In the five
years I have been in Hollywood I have
made twelve pictures. The only thing I
have to be careful of, is that I do not be-
come too engrossed in work. That’s not fair
to my boys and Greta.”

I asked him which of the pictures he had
made was his favorite. Some actors would
not have liked answering that because of
politics.

But leave it to Greg to come across with
an honest answer to an honest question.

He said, “ ‘Keys of the Kingdom,’ first.
‘The Macomber Affair,’ second. Maybe
you’ll be surprised, but I liked ‘The Ma-
comber Affair’ as well as any picture I
ever made.”

I said I was surprised, because it had
not been exceptionally successful.

“That doesn’t make any difference where
an actor is concerned,” Greg explained. “I
found something vitally satisfying and real
in the character I portrayed.

“Anyway, I will always be glad I made
the picture because it was adult and not
trite. And then I suppose you are influ-
enced by the people you work with. I can’t
tell you how much I admire Joan Bennett.

“She is such a good actress, such a good
mother and so pleasant to work with. You
know, we really roughed it when we made
that picture, and there was Joan, used to
all the luxury and fastidiousness of a well-
ordered home, roughing it and never mak-
ing a squawk.”

Greg was also highly excited about
John Ford’s revival of the old stage hit,
“What Price Glory.” With an all-star cast,
the revival will tour the West Coast to
raise funds for Veterans Hospitals. Greg

I has one of the least important roles, but he
is excited about appearing in it. “Ford, and
all the rest of those guys are working like
dogs, for nothing in cash, but plenty in

[help for others. That’s what I like being
identified with,” he grinned.

It was getting near dinnertime when
Greg unwound his lanky legs, tossed his
coat around his shoulders and said he
guessed he would be going along.

I saw him to the door and watched him
zoom off down the street, one of the nicest
and most likable and real guys in this
town.

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Why I Go to the Movies

( Continued from page 41) that life is
sufficiently grim without spending an eve-
ning watching grim shadows on a screen.
And I find that the majority of my friends
agree with me.

I like some, not all, documentaries. I
think that “The Secret Land” is a fine,
absorbing story. I like some, not all stories
based on incidents in real life such as
“Northside 777” and “Boomerang.” I do
not, as a rule, like a biographical motion
picture, with or without music; most of
them are basically false, few adhere to
actual facts. I suppose they would be dull
if they did. And the practice of portray-
ing someone’s life story while that person
still lives seems to me singularly deplor-
able and embarrassing.

I like comedies — drawing room, slap-
stick and fantastic. I will go far to see one
and release the day’s tension in laughter.
I like musicals if they are gay and melodic,
not too absurd and not too colossal. And
I like swashbuckling yams, if not over-
spectacular. I have come to dislike the
sort of historical or adventure movie in
which characters and story become lost
in the size of the production (this goes for
musicals, too).

I like cartoons, being particularly fond
of Goofy, Tom and Jerry, Bugs Bunny
and others. I loathe the little shorts
which feature noisy bands and usually a
couple of adagio dancers.

I hope that no one will send me an atom
bomb when I remark that I rarely enjoy
Mr. Shakespeare on the screen, no matter
how marvelous the production or glorious
the acting.

(LIKE a number of English pictures but
it is well to note here and now that we
see only the best of these. When the
British cinema industry lays an egg, it is
just as much an egg as any laid by Holly-
wood. Once or twice it has been my mis-
fortune to see such a British-made film.
But the good ones are uncommonly good.
I remember “Great Expectations,” which
I saw three times, and “Vacation from
Marriage,” and “This Happy Breed,” and
“I Know Where I’m Going” and many
more.

As for stars, I have, as who has not, my
favorites. I never miss, if I can help it,
Gary Cooper. I have been faithful to him
since the silent days. Or a picture in
which Gene Kelly appears, or Bing Crosby.
I haven’t missed a Barbara Stanwyck pic-
ture either, that is, until “Sorry, Wrong
Number.” I couldn’t take it, even with
Stanwyck whom I greatly admire and
whom I would like to know. I go to any-
thing which Jimmy Durante enlivens by
his miraculous presence and would rather
be incarcerated than pass up an Abbott
and Costello, good, bad or indifferent.
How I can live until their jungle picture
arrives, I don’t know.

I am distressed to read that there will
be no more Road pictures, the Crosby-
Hope-Lamour combination is my Dag-
wood sandwich for the year. By the way,
it occurs to me that Miss Lamour is doing
an outstanding job on her radio program.
And while sometimes Jimmy Stewart is
inclined, to my mind, to exaggerate the
shy, slow-spoken lad, a quality which has
endeared him to the nation’s heart, I
rarely miss his pictures. And I want here
to speak a word for Sam Levene; I have
never seen a picture in which he played
which was not greatly enhanced by his
presence. I have seen some bad films, as
a matter of fact, but while Levene was
on the screen, they were good.

I am devoted, cinematically speaking,
to La Fontaine; she can do almost any-
thing, and well. I do not tire of looking at

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young Liz Taylor, but I am afraid that
they will soon type her, by roles with a
little too much arrogance and looking
down her lovely nose. I remember her in
“National Velvet,” and she was wonder-
ful. But lately, they have not permitted
her to act; all she has to do is look beau-
tiful. Beautiful she is indeed, but after
awhile, just beauty, even coupled with
youth, must pall.

Judy Garland has always been one of
my favorites. I first saw her in, I think,
1938, in a picture with Fannie Brice. She
was a talented kid full of vitality and
appeal. I am sorry to see her looking
anxious and overly slender on the screen.
I hope she will regain her natural vitality
which bubbled up from youth, well-being
and health.

It is necessary here to say that I have
loved Edmund Gwenn and little Jeanne
Crain in all the pictures I have seen
them in, before I was fortunate enough to
find them in a picture of mine!

I am very tired of heavy, overproduced
costume pictures, laden with complicated
stories and screaming like a siren with
sex. Yet I enjoyed “The Three Musket-
eers” very much; mainly because of Gene
Kelly and the feudin’, fightin’, and fussin’,
costumes, sword play and scenery. There
was a lot of bad acting in it, and no acting
at all. I thought Angela Lansbury badly
cast and also Lana Turner. Miss Lansbury
is too good and too young an actress to
be burdened with the static role of the
luckless Queen, for one thing. But the
picture was fun. And Kelly becomes more
and more like the young John Barrymore
whom I remember in those parts which
call for a slice of pleasant ham; he also
out-Fairbanks the Fairbanks, father and
son, in agility, and is as good a dancer as
almost any you can name Which brings
us to Dan Dailey, whom I like, but who
will soon be typed, if they cast him in too

to write and tell us why you’d like
to see your favorite star in color,
your vote may decide your favor-
ite’s place in our color line-up!

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many backstage pictures, and to Betty
Grable, whom I once scratched off my list
but who, somehow, has grown on me, until
I faithfully see all her pictures.

This is one woman’s opinion. I never go
as a critic to the movies, but as part of
an average audience. In a very bad picture,
I find an amusement which compensates,
just as in bygone days, I liked extremely
bad vaudeville almost as well as ex-
tremely good. And in an indifferent pic-
ture, there is always one player or one
scene which makes it worthwhile.

I do not like pictures which have too
obvious a message. I believe the motion
picture is geared to instruct, and to make
one think as well as to entertain and as
such can be a great force for good. But
I prefer a moral to be drawn with some
subtlety and to flower naturally from
the story and the situations. Those pic-
tures which produce the moral and then
proceed to write the story around it, drag-
ging it in, as it were, by the heels, hold
no appeal for me.

THERE is nothing wrong with the in-
dustry which good films, of all types,
cannot cure. Television, or no television,
people will always go to the movies when
the movies have something rewarding to
offer. Many producers are exhibiting much
common sense. I have even seen pictures
of housewives who do work in a kitchen
smaller than a ballroom; and pictures
about working girls who dress as working
girls do and live in comparatively modest
quarters, rather than, as once was the
cinema case, in palaces.

Give us good stories, good acting and
adequate, but not fabulous, production
and we’ll all go to the movies. Give us
more laughter, and less horror, and more
suspense without abnormality; give us
more pictures suitable for the entire fam-
ily, yet not sickly with sentimentality and
more realism which, however, holds out
hope, rather than defeatism, for mankind
and we will go.

The average audience does not have a
seven-year-old mentality. It is quite adult.
Perhaps some of us are prone to lose
ourselves in daydreams and vicarious
romance. Is this bad? I don’t think so. If
Mrs. John Doe sighs for Rex Harrison
(and what Mrs. John Doe, including my-
self, does not?) can fault be found with
her, providing she does not neglect to
cook Mr. Doe’s supper before entering
upon her little dream? I see nothing
reprehensible in the escape which the
movies afford. Escape is all right if you
recognize it as such, and if you do not
prefer it as a diet. Escape is dessert, living
is bread. As long as you do not confuse
the two, you are, I suspect, quite normal.
The End

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BRIBE, THE — M-G-M: Rigby, Robert Taylor;
Elizabeth Hintten, Ava Gardner; J. J. Bcaler, Charles
Laughton; Carwood, Vincent Price; Tug Hintten,
John Hodiak; Dr. Warren, Samuel S. Hinds; Gibbs,
John Hoyt; Emilio Gomez, Tito Renaldo; Pablo
Gomez, Martin Garralaga.

CANADIAN PACIFIC — 20th Century-Fox: Tom
Andrews, Randolph Scott; Dr. Edith Cabot, Jane
Wyatt; Dynamite Dawson, J. Carroll Naish; Dirk
Rourke, Victor Jory; Cecille Gautier, Nancy Olson;
Cornelius Van Horne, Robert Barratt; Mike Branni-
gan, Walter Sande; Cagle, Don Haggerty; Dr. Mason,
Grandon Rhodes; Mrs. Gautier, Mary Kent; Mr.
Gautier, John Parrish; Pere Lacombe, John Hamil-
ton; Bailey, Richard Wessel; Mallis, Howard Negley.

DOWN TO THE SEA IN SHIPS— 20th Century-
Fox: Dan Lunceford, Richard Widmark; Capt. Ber-
ing Joy, Lionel Barrymore; Jed Joy, Dean Stockwell;
Slush Tubbs, Cecil Kellaway; Andrew Bush, Gene
Lockhart; Manchester, Berry Kroeger; Thatch, John
Mclntire; Britton, Henry Morgan; Mr. Harris, Harry
Davenport; Capt. Briggs, Paul Harvey; Luke, Jay C.
Flippen; Lem Sykes, Fuzzy Knight; Blair, Arthur
Hohl ; Miss Hopkins, Dorothy Adams; Capt. Rumley,
Hubert E. Flanagan.

EL PASO — Pine Thomas-Paramount: Clayton
Fletcher, John Payne; Susan Jeffers, Gail Russell;
Burt Donner, Sterling Hayden; Pesky, George “Gab-
by” Hayes; Sheriff La Farge, Dick Foran; Judge
Jeffers, Henry Hull; Stage Coach Nellie, Mary Beth
Hughes; Nacho Vasquez, Eduardo Noriega; Judge
Fletcher, H. B. Warner; Mrs. John Elkins, Catherine
Craig; John Elkins, Arthur Space; Jack Elkins,
Bobby Ellis; Mary ’Lizbeth Fletcher, Peggy Mc-
Intyre; Piute Pete, Chief Yowlachi; Mexican Joe,
Steven Geray; Denton, Lawrence Tibbett Jr.

GREEN PROMISE, THE — McCarthy- R KO :
Deborah Matthews, Marguerite Chapman; Mr. Mat-
thews, Walter Brennan; David Barkley, Robert
Paige; Susan Matthews, Natalie Wood; Pliineas Mat-
thews, Ted Donaldson; Abigail Matthezvs, Connie
Marshall; Buzz Wexford, Robert Ellis; Jessie Wex-
ford, Jeanne LaDuke; Julius Larkins, Irving Bacon;
Reverend Benton, Milburn Stone; Mrs. Wexford,
Geraldine Wall.

JIGSAW — Tower-UA: Howard Malloy, Franchot
Tone; Barbara Whitfield, Jean Wallace; Charles
Riggs, Myron McCormick; Angelo Agostini, Marc
Lawrence; Mrs. Hartley, Winifred Lenihan; Caroline
Riggs, Betty Harper; Sigmund Kosterich ; Hedley
Rainnie; Dist. Att. \Walkcr, Walter Vaughn;
Knuckles, George Breen, Tommy Quigley, Robert
Gist; Mrs. Borg, Hester Sondcrgaard; Pet Shop Ozvn-
er, Luella Gear; Pemberton, Alexander Campbell;
Waldron, Robert Noe; Nichols, Alexander Lockwood;
Wylie, Ken Smith; Museum Guard, Alan Macateer;
Warehouse Guard, Manuel Aparicio; Butler, Brain-
ard Duffield.

LITTLE WOMEN— M-G-M: Jo, June Allyson;
Laurie, Peter Lawford; Beth, Margaret O’Brien;
Amy, Elizabeth Taylor; Meg, Janet Leigh; Professor
Bliaer, Rossano Brazzi; Marmce, Mary Astor; Aunt
March, Lucile Watson; Mr. Lawrence, Sir C. Aubrey
Smith; Hannah, Elizabeth Patterson; Mr. March,
Leon Ames; Dr. Barnes, Harry Davenport; John
Brooke, Richard Stapley; Mrs. Kirke, Connie Gil-
christ; Sophie, Ellen Corby.

MISS MINK OF 1949 — Wurtzel-20th Century-Fox:
Joe Forrester, Jimmy Lydon; Alice Forrester, Lois
Collier; Herbert Pendleton, Richard Lane; Mrs. Mar-
shall, Barbara Brown; Uncle Newton, Paul Guilfoyle;
Rose Pendleton, June Storey; Nietsche, Grandon
Rhodes; O’ Mulvaney, Walter Sande; Skeet Price,
Don Kohler; Hortense, Vera Marsh; Mrs. O’ Mul-
vaney, Dorothy Granger; Mrs. McKelvey, Iris
Adrian.

MOTHER IS A FRESH M A N— 20tli Century-Fox:
Abby Abbott, Loretta Young; Prof. Richard Michaels,
Van Johnson; Prof. John Heaslip, Rudy Vallee;
Louise Sharp, Barbara Lawrence; Beauznont Jack-
sozi, Robert Arthur; Susan, Betty Lynn; Dean Gil-
lingham, Griff Barnett; Rhoda Adams, Kathleen
Hughes; George, Eddie Dunn; Mrs. Gillingham,
Claire Meade; Prof. Rotnaine, Henri Letondal ; Miss
Grimes, Virginia Brissac; Mr. De Haven, Charles
Lane; Mrs. Grammerton, Kathryn Card; Butch,
Richard Taylor; Beulah, Marietta Canty.

MY DREAM IS YOURS — Warners: Doug Blake,
Jack Carson; Martha Gibson, Doris Day; Gary
Mitchell, Lee Bowman; Thomas Hutchins, Adolphe
Menjou; Vivian Martin, Eve Arden; Felix Hofer,
S. Z. Sakall; Freda Hofer, Selena Royle; Uncle
Charlie, Edgar Kennedy; Grimes, Sheldon Leonard;
Sourpuss Manager, Franklin Pangborn; Character
Actor, John Berkes; Ada Leonard; Frankie Carle.

QU ARTET — Rank-Eagle Lion: Henry Garnet, Basil
Radford; Leslie, Naunton Wayne; Ralph, Ian Flem-
ing; Thomas, Jack Raine; Mrs. Garnet, Angela Bad-
deley; Jeanne, Mai Zetterling; Branksome, James
Robertson Justice; Nicky, Jack Watling; John, Nigel
Buchanan; Cabaret Entertainer, Jean Cavall; George
Bland, Dirk Bogarde; Sir Frederick Bland, Raymond
Lovell; Lady Bland, Irene Browne; Paula, Honor
Blackman; Uncle John, George Thorpe; Aunt Maud,
Mary Hilton; Lea Makart, Francoise Rosay; Coroner,
Maurice Denham; Foreman of Jury, James Hayter;
Prison Visitor, Bernard Lee; Prison Governor, Fred-
erick Leister; Prison Officer, George Merritt; Herbert

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119

COULD THIS HAVE BEEN YOU?

It was such a wonderful night for a walk in the park,
and Florrie was so lonely. If only she had known that
MURDER was to be her companion!

Here is a gripping story of one mistake — and how it
nearly wrecked a young girl’s life in

the May issue of

Sunbury, George Cole; Herbert (as a boy), David
Cole; Beatrice Sunbury, Hermione Baddeley ; Samuel
Sunbury, Mervyn Johns; Betty, Susan Shaw; Re-
porter, Cyril Chamberlain; Colonel Peregrine, Cecil
Parker; Mrs. Peregrine, Nora Swinburne; West, J.
H. Roberts; Bannock, Lynn Evans; Railway Passen-
ger, Cyril Raymond; 1st Club Man, Claude Allister;
2nd Club Man, Wildred Hyde-White; Henry Dash-
wood, Ernest Thesiger; Duke of Heverel, Henry
Edwards; B lane's Clerk, Ernest Butcher; Daphne,
Linden Travers; Martin, Felix Aylmer; John Cole-
man, John Salew; Gushing Woman, Margaret With-
ers; 1st Gossip, Yvonne Owen; 2nd Gossip, Margaret
Thorburn; Bookshop Ass’t, Hal Osmond; Henry
Blane, Clive Morton.

RED CANYON — U-I: Lucy Bostel Ann Blyth;
Lin Slone, Howard Duff; Mathew Bostel, George
Brent; Jonah Johnson, Edgar Buchanan; Floyd Cordt,
John Mclntire; Brackton, Chill Wills ; Aunt Jane,
Jane Harwell; Virgil Cordt, Lloyd Bridges; Joel
Creech, James Seay; Farlane, Edmond^ MacDonald;
Scars, David Clarke; Hutch, Denver Pyle; Van,
Williard Willingham.

RED PONY, THE — Republic: Alice Tiflin, Myrna
Loy; Billy Buck, Robert Mitchum; Grandfather, Louis
Calhern; Fred Tiflin, Shepperd Strudwick; Tom,
Peter Miles; Teacher, Margaret Hamilton; Jinx
Ingals, Patty King; Jackie, Jackie Jackson; Beau,
Beau Bridges; Nino, Nino Tempo; Date, Tommy
Sheridan.

SCOTT OF THE ANTARCTIC— Rank-Eagle Lioif:
Scott, John Mills; Wilson, Harold Warrender; Oates,
Derek Bond; Bowers, Reginald Beckwith; P. O.
Evans, James Robertson Justice; Lt. Evans, Kenneth
More; Atkinson, James McKechnie; Lashly, Norman
Williams; Crean, John Gregson; Hooper, John
Owers; Day, Christopher Lee; Meares, Melville
Crawford; Dimitri, Edward Lisak; Pouting, Clive
Morton; Wright, Dennis Vance; Keohane, Larry
Burns; Pennell, Bruce Seton; Debenham, Godfrey
Harrison; Simpson, John Derrick; Murray-Lovick,
Geoffrey Crank; Forde, Don Yarranton; Taylor, Peter
Northcote; Archer, Claud Spero; Abbot Roy Kirk-
ham; Clissold, Leo Philips; Priestley, Ricnard Power;
Dickason, Kenneth Bellringer; Browning, Kenneth
Hanes; Campbell, John Tathan; Mackenzie, Sam
Kydd; Williamson, Jock Ritchie; Nelson, Donald
Creswell; Kathleen, Diana Churchill; Oriana, Anne
Firth; Caroline, Dandy Nichols; Helen Field, Mary
Merrett; 2nd Sea Lord, Desmond Robert; Chairman,
Percy Walsh; Plump Man, Philip Sta'mton; 1st Elder-
ly Man, Noel Howlett; Telegraph Boy, David Lines.

TRUE STORY

Now On Y’our Newsstand

also in this issue:

"KEPT MAN"

- — Be happy you never met John Anders! Women
meant little to this man — unless they could help him gain
his one true love— money!

"NO LIFE OF MY OWN"

— Has any man the right to “own” his wife? No!
cried Louise in this powerful story of a woman’s battle
for self-respect.

Read these and many more exciting stories, fashion and
homemaking articles plus this month’s Personality Feature

"ART LINKLETTER (of radio’s People Are Funny fame) Tells His Own

Story” — plus full-page color portrait

all in the big May issue of

TRUE STORY

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Listen to: "MY TRUE STORY" Every Morning Monday Through Friday
On ABC Stations.

SOUTH OF ST. LOUIS — Warners: Kip Davis, Joel
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Malone; Lee Price, Douglas Kennedy; Jake Evarts,
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Jimmy Lydon; Laurie Sherman, Penny Edwards;
Jennifer Johnson, Deanna Wayne; Gregg Johnson,
Charles Russell; Tod Bryant, Joe Sawyer; George
Reeves, Walter Sande; Gertie Peck, Lyn Wilde;
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County Trio.

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mando Ariete, Pedro Armendariz; Guillermo, Gilbert
Roland; Chief, Ramon Novarro; Miguel, Wally Cas-
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PHOTOPLAY

Contents for June, 1949

HIGHLIGHTS

It Gives Us Great Pleasure Fred R. Sammis

Tangled Lives (Errol Flynn) Louella O. Parsons

Love and a Girl Named Liz Taylor Ann MacGregor

Win a Present from a Star

Ace of Hearts (Peter Lawford) Herb Howe

Jenny and Miss Jones Gregory Peck

Lady with a Past June Allyson

The Story of the M-G-M Studios Wynn Roberts

Gable Fable Elsa Maxwell

Breakfast in Hollywood (with Van Johnson) Jack McElroy

Spring Shower (for Jane Powell) .... Kay Mulvey

Confessions of Leo the Lion Sheilah Graham

Water Color Portrait (Esther Williams) . . Joseph Henry Steele

Star in Your Home (Brian Donlevy) Ruth Waterbury

My Mother Understands Margaret O’Brien

Back Home in Carolina (Ava Gardner)

Hollywood Clothes Line Edith Gwynn

Your Photoplay Photo-Plays (Gene Kelly) Told in Comics
Photoplay Fashions

There is nothing "wrong" with you. It's just
another sign you are now a woman, not a
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with a truly effective underarm deodorant.

FEATURES IA COLOR

Elizabeth Taylor

Audrey Totter

Greer Garson

Peter Lawford

Ava Gardner

Gene Kelly

Jeanette MacDonald

Jennifer Jones

Frank Sinatra

Clark Gable . . . .

Van Johnson

Jane Powell’s Shower

Robert Taylor

Esther Williams

Ann Miller

Jane Wyman

Diana Lynn

SPECIAL EYEATS \

Casts of Current Pictures . . .

Platter Patter

Inside Stuff — Cal York . .

Readers Inc.

Laughing Stock

Shadow Stage

What Should I Do? 22

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Cover: June Allyson, star of “The Stratton Story”
Natural Color Portrait by Clarence Bull
Design by Otto Storch

Fred R. Sammis, Editorial Director Adele Whitely Fletcher. Editor

Ruby Boyd, Managing Editor Rena D. Firth, Assistant Editor

Alice Tiller, Assistant Editor Beverly Linet, Assistant Editor

Edmond Davenport, Art Director

Ann Daggett, Hollywood Editor Hymie Fink. Photographer

Frances Morrin, Hollywood Managing Editor Sterling Smith, Photographer

Sara Hamilton, Associate Editor Betty Jo Rice, Asst. Photographer

Ruth Waterbury, Contributing Editor Maxine Arnold, Contributing Editor

JUNE, 1949 VOL. 36, NO. 1

PHOTOPLAY, published monthly by MACFADDEN PUBLICATIONS, Inc., New York, N. Y. General Business, Editorial
and Advertising Offices: 205 East 42nd Street, New York 17, N. Y. Hoi lywood-Beverly Hills office: 321 S. Beverly
Drive, Beverlv Hills, California. O. J. Elder, President; Harold Wise, Executive Vice President: Herbert G. Drake,
Vice President- Ernest V Hevn, Vice President; Meyer Dworkin, Secretary and Treasurer; Edward F. Lethen,
Advertising; Manager; Charles O. Terwilliger, Jr., Eastern Advertising Manager. Chicago Office: 221 North La Stile
St., Leslie R. Gage, Mgr San Francisco Office: 1613 Russ Building, Joseph M. Dooher, Mgr. Los Angeles Office:
612 South Flower St., Georve Weatherby, Mgr. Reentered as Second-Class matter. May 10, 1946, at the Post

Office at New Y'ork, N. Y., under the Act of March 3, 1879. Authorized as second class mail, P.O. Dept., Ottawa. Ont..
Canada. Subscription rates: U. S. and Possessions SI. 80 per year. Canada $3.00 per year. All other countries
$4.00 per year. Price per copy, 15c in the United States. 25c in Canada. While Manuscripts, Photographs and
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companied by sufficient first-class postage and explicit rame and address. But we will not be responsible for any
loss of such matter contributed. Contributors are especially advised to be sure to retain copies of their contributions
otherwise they are taking an unnecessary risk. Copyright 1949, by Macfadden Publications, Inc. All righ s reserved
under International Copyright Convention. All rights reserved under Pan-American Copyright Convention. Todos
derechos reservados segun La Convencion Panamericana de Propledad Literarla y Artistica. Title trademark registered
in U. S. Patenf office.

Member of Macfadden Women's Group

All foreign editions handled through Macfadden Publications International Corp., 205 East

42nd Street. New York 17, N. Y. Carroll Rhelnstrom, President; Douglas Lockhart, Vice President.

The contents of this magazine may not be reprinted either wholly or in part without permission.

Printed in IT. S. A. bv Art Color Printing Co., Dunellen, N. J.

M-G-M presents a great drama with a great star in every role!

GREGORY PECK • AVA GARDNER • MELVYN DOUGLAS

WALTER HUSTON ETHEL BARRYMORE FRANK MORGAN AGNES MOOREHEAD

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Directed by ROBERT SIODMAK . Produced by GOTTFRIED REINHARDT
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WIN A PRESENT FROM A STAR

Janet Leigh’s gift — a “Little
Women” dress by Lanz, size 13

Spencer Tracy special: Rima au-
tomatic self-winding wrist watch

On display from Deborah Kerr
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George Murphy’s prize prefer-
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For contest details see page 38.

Not since the ever famous "Kitty” has Paramount brought you Paulette Goddard in a
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WIN A PRESENT FROM A STAR

Gift for those gala occasions —
Liz Taylor’s Ceil Chapman gown

Clark Gable offers you a sporting
chance — his own Winchester gun

Winner takes all — Coro costume
jewelry set from Judy Garland

For contest details see page 38.

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WIN A PRESENT FROM A STAR

Prize catch — Spalding outfit like
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Keenan Wynn shows Ricardo
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Marjorie Reynolds admires Katie
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Waiting for a winner — Keneth
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For contest details see page 38.

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INSIDE

STUFF

Cal Yctkd Go Mip
0^ HoOW

Ginger Rogers lends an ear to one of Oscar Levant’s droll
stories. They’re on set of “The Barkleys of Broadway”

Hollywood Is Talking About: The threat of Gene
Kelly to quit acting for directing . . . The solid philos-
ophy of Doris Day who doesn’t seem the type . . . The
speculation as to whether the English will go for
Frankie Sinatra, who appears at the Palladium this
summer . . . The return of John Garfield and Jimmy
Cagney to their alma mater, Warner Brothers, after
each had fought like steers for their release . . . The
disappointment of Garfield, starring in the Clifford
Odets play “The Big Knife,” and the terrific hit of
Lee J. Cobb (relegated to mere character parts in
movies) in “Death of a Salesman” . . . The oddity in the
Franchot Tone menage with Mrs. Tone (Jean Wal-
lace) constantly bemoaning her great love for Fran-
chot, the man she is in the process of divorcing while
both live in the same house . . . The not-too-kidding
sarcasm Bob Hope lavishes on a radio bit player who
reads a line well, and the encouragement given a good
line reader by Jack Benny.

Set Going: One of the longest scenes we’ve witnessed
was about to be filmed when we stepped onto the “The
File on Thelma Jordan” set. Character actor Stanley
Ridges stood before judge and jury and, in eight pages
of typed dialogue, defended Barbara Stanwyck alias
Thelma Jordan.

Barbara, gray hair softening her lovely face, sat en-
tranced throughout the rehearsals. A prodigious worker,
Stanwyck never lets down a minute. We thought at first
the graying hair was all a part of the role but learned
later it is quite nautral and Barbara will permit no
touch-up of any kind. Too bad the camera fails to catch
its surprising loveliness.

The elderly, business-man type of judge interested us.
Imagine our surprise to learn that he was Basil Ruys-
dael who for years had offered up those auctioneer
chants on the “Hit Parade” program. The quiet calm of
“Judge” Ruysdael seemed not to fit the tobacco chanter.

( Continued on page 15)

On the court-ship line: Irene Wrightsman McEvoy and
Bob Stack at recent movie stars exhibition tennis match

Audie Murphy signs while Wanda Hendrix smiles at “Bad
Boy” premiere. Proceeds went to Variety Boys Club

Mickey Rooney wasn’t around but he’s in the picture for
Martha Vickers, with Douglas Dick at Beverly Wilshire

Christening of Pamela Allyson Powell called for a party
from parents, Dick and June, with guest John Payne

Harry James’s birthday put Betty Grable in a dancing
role with her husband — at a Ciro celebration for two

INSIDE STUFF

Reporting the 21st
Academy Awards

An enviable third at any party: Oscar wasn’t left behind
when Lew Ayres and Jane Wyman, who won Award for
“Johnny Belinda,” went to Jack Warner party at Mocambo

Trio of triumph: Evelyn Keyes (Mrs. John Huston) and
Doug Fairbanks Jr., who accepted Awards for Laurence
Olivier, presented by 1947 winner, Loretta Young

To the victor — an Oscar from Deborah Kerr. John Huston
received two Awards for “Treasure of the Sierra Madre” —
one for best screen play, the other for best direction

Academy Awards: Following this year’s presentation
of the Academy Awards, it looked as if there would be
no more Oscars. The day after the Awards, Jean Her-
sholt, President of the Academy of Motion Picture Arts
and Sciences, announced that the motion picture com-
panies would no longer support these annual presenta-
tions. Whereupon, there was great dismay. Some said
the executives of the motion picture companies were
withdrawing their financial support because “Hamlet,”
a British production, was voted the finest picture of the
past year. Subsequently, this was denied by the movie
companies, who insisted they had declared their inten-
tion to discontinue their Award support as long ago as
last autumn.

Now, with the cost of the presentations borne in some
other way, it seems almost certain the annual Awards
will continue. Which is as it should be. It would be a
great pity if Hollywood no longer was to know the deep
satisfaction that comes to actors and actresses when
they are honored by those in their profession. Certainly,
the night of the Awards is always a great occasion —
and this year was no exception.

Jane Wyman, in a simple white crepe gown, climbed
the steps to the stage of the Academy Theater and ac-
cepted her Oscar for giving the best performance of the
year as the deaf-mute in “Johnny Belinda.”

“I accept this very gratefully for keeping my mouth
shut once. I think I will do it again,” Jane said, her
voice breaking a little, amidst the applause that rocked
the theater. And just as enthusiastic was the applause
for Sir Laurence Olivier, absent in England, who won,
as Hamlet, the best acting award of the year.

Streamlined and shorn of the glamour and nostalgic
sentimentality that high-lighted former Awards, the
Academy officers (with Robert Montgomery as master
of ceremonies) spoke briefly and to the point. From the
moment the curtains parted, revealing a long row of
gleaming golden Oscars beneath a giant replica, the
presentations were short and sweet.

Hollywood’s most beautiful girls — Ava Gardner, Ar-
lene Dahl, Ann Blyth, Jeanne Crain, Deborah Kerr,
Kathryn Grayson, Celeste Holm, Loretta Young — came
arrayed in breath-taking gowns. Hollywood’s own
Santa, Edmund Gwenn, handed out the Oscars to win-
ning technicians, cameramen, producers, designers, writ-
ers and actors.

Out front, Glenn Davis seemed dazzled with the
beauty of Elizabeth Taylor in a hoop-skirted gown.
Howard Duff wandered up and down the aisles, before
the curtains parted, complaining, “Somewhere I’ve lost
a girl.” No one seemed to know whom. Barbara Stan-
wyck, a nominee for “Sorry, Wrong Number,” was first
to join the applause that greeted Jane, the winner.

Olivia de Havilland, another nominee, notified the
Academy only a few hours previous that her doctor
forbade her to attend. Sympathy went out to Olivia,
who turned in a masterpiece of acting as the deranged
woman in “The Snake Pit,” because of the grave illness
she is suffering during her pregnancy.

Sitting together were father and son, Walter and
John Huston. Pride shone in John’s eyes when his
father accepted his Oscar for winning the best support-
ing actor award in his son’s film, “Treasure of the
Sierra Madre.” But when young Huston was called
twice to the stage to win Oscars for the best written
screen play and best direction — both for “Treasure of
the Sierra Madre” — Walter was deeply moved.

Jane Russell sang “Buttons and Bows,” which won for
the best song. Later at Romanoff’s, at a table for two,
Jane sat with husband Bob Waterfield. Once she un-
ashamedly wrapped her arms about Bob, who gave
every appearance of being a happy man.

Just as happy was producer Milton Bren when his
lovely wife Claire Trevor won an Oscar for her sup-
porting role in “Key Largo.”

Another Huston was honored when John’s father, Walter,
was presented with Oscar for best performance in a sup-
porting role by last year’s winner. Celeste Holm

A gift to gladden any girl’s heart: Edmund Gwenn who
won for “Miracle on 34th Street” last year, presents
Claire Trevor with Award for best supporting role in 1948

INSIDE STUFF

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The Johnnie Johnstons (Kathryn Gray-
son) stop for a quick chat with hand-
some Ronald Colman at Academy Awards

The Toppings: “This is the Miami
Maritime operator,” the voice said over
the phone, and in a few seconds Cal was
saying excited hello’s to Bob Topping
and his wife, Lana Turner, who were
calling from their yacht “Snuffie,” off the
Florida coast.

Lana sounded happy and content. De-
spite all the printed items that she is
scheduled for this or that picture, Lana
assured us she had had no definite word
of return from M-G-M but would come
back when called. With Lana just about
number one girl at the studio, it shouldn’t
be too long.

They were headed for Nassau, Bob told
us, and other ports of call. Certainly it
seemed a romantic jaunt on the beautiful
Topping yacht. But it made Cal homesick
for his friends again.

A night or two later, we dined with
Mildred Turner and Cheryl, Lana’s
mother and daughter, at their Brent-
wood home. Cheryl was proudly display-
ing her “all well” arm, broken in Con-
necticut but now free of its cast.

Mildred and Cheryl will occupy Lana’s
small house until the Toppings return
and find a larger one. And Cal could tell
from their voices, they’ll be glad to have
Lana and Bob home again.

Around Town: With Cleatus Hutton,
nervous and anxious, to the pre-opening
showing of Jack Kirkland’s play, “Mr.
Adam,” starring her husband Robert
Hutton. The Dennis O’Keefes, the Don
DeFores, Lucille Ball and many others
applauding Robert’s fine performance . . .
Jules Stein astonishing us all with a
camera that takes a picture with no
flash bulb and develops the film inside
the camera within a minute. Cal, director
Mervyn LeRoy, his cute wife Kitty and
Look’s publisher, Lester Cowles, admir-
ing the picture Jules snapped of us.

Betty — Bede — Sherry: With Dell; her
generously propox-tioned cook, her daugh-
ter Bede (short for Barbara) and nurse,
Bette Davis took off by train for Florida.
William Sherry, her artist husband, pre-
ceded his family in the station wagon
loaded with his canvases. Sherry is to
have an exhibition of his work at the
( Continued on page 21)

BY ERSKINE JOHNSON

»AY after Edward Arnold’s wife sued him
for divorce he started work in a movie
titled “Dear Wife.”

They were burning Ingrid Bergman at
a Saturday matinee of “Joan of Arc.” A
youngster in the fifth row broke up the
audience yelling: “They wouldn’t get away
with that if Roy Rogers was there!”

i *

Motto on the wall of a Hollywood dra-
matic school- “Better a small role than a
long loaf.”

Quote: “I’ve got four brothers — three
live and one transcribed.” — Bob Crosby.

Realism: A stunt man was hired to fall
down a long flight of stairs for a film scene.
He tried it once, but the director, the late
Victor Fleming, didn’t like it. So Fleming
climbed the stairs and said he would show
the stunt man exactly what he wanted. He
fell, landed with a heavy thud and didn’t
get up.

“See,” he said, rising up on one elbow,
“that’s exactly what I want. Now do it
that way. And call an ambulance for me.
I think I broke my leg.” He had.

❖ ❖ *

Overheard: “She’s heading for Las

Vegas. I hear she’s got an ex to grind.”

Sam Goldwyn once introduced George
Jessel at a Hollywood banquet with: “Jes-
sel has been around so long, there’s a story
that he’s the actor who shot Lincoln. But
if Lincoln had heard Jessel sing, it would
have been the other way around.”

Claude Jarman to Elizabeth Taylor:
“Wait’ll you get a load of me in my wolf
pants.”

“Wolf pants?” blinked Elizabeth. “What
are they?”

“Corduroy, they whistle while I walk.”

A film producer was having an argu-
ment with his nephew who had been on
his pay roll for many years. The battle
raged for some time until finally the pro-
ducer yelled: “Stop shouting at me. Calm
down. Keep my shirt on.”

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came to a store that showed
her three spoons. One spoon
was an ordinary spoon with no
form of wear protection at all.

Tee Si

P oons

The next spoon she saw
was one of the extra-
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forks in this really finer
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When she heard this,
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Cheers and Jeers:

Orchids to Louella Parsons. Her story,
"They’ve Had to Take It,” concerning the
Van Johnsons, was really something. It’s
time someone woke the public up to the
fact that everyone doesn’t put their career
ahead of happiness. Van is a good actor
ant, just because some people are envious,
they start a lot of silly gossip. Maybe
someday they will learn though it is
doubtful.

Billy Young

Sargent, Ga.

In your March Photoplay, you printed
an article by Herb Howe, “Return of the
Torso.” Does Mr. Howe realize that in
his choice of male stars with better torsos,
he completely left out the two most beau-
tiful physiques in Hollywood? They are
Bob Mitchum and Kirk Douglas.

How Errol Flynn or Alan Ladd even
got in this category, I’ll never know, but
they certainly don’t compare with Mitchum
or Douglas.

Marlene Truckey

Seattle, Wash.

Why doesn’t anyone ever write a let-
ter about June Haver? She is much cuter
than Jeanne Crain. She can act, sing and
dance better than Betty Grable.

Doris E. Brown

Plainfield, N. J.

Casting:

When I read in March Photoplay that
Elizabeth Taylor was starred as Robert
Taylor’s wife in “Conspirator,” I was dis-
gusted. It doesn't make good sense that
a girl of sixteen should be co-starred with
a man almost forty. Is Hollywood so
short of adult actresses that they must
pluck them from the cradle?

Mrs. J. Weimer

Cherokee, Iowa.

Why must they always stick that John
Agar in every picture with Shirley just
because they're married? Certainly they
know he can’t act. I think Shirley can
do all right by herself in the pictures.

Karolyn F. Altmann
Arcade, N. Y.

Gold Medal Award Talk:

I enjoyed reading your March issue of
Photoplay very much, especially the arti-
cle about the Gold Medal Winners.

The day after the Awards dinner, I read
in my newspaper that Mr. Crosby did not
even have the decency to show up to re-
ceive his award. I think that if the people
take the time to choose their favorite
stars, the stars ought to take the time to
receive them with honor and humility.

If I give the impression of not liking
Mr. Crosby, it is a false impression be-
cause I do thoroughly enjoy his movies
and he is worthy of the Awards.

Ruth E. Silver

Los Angeles, Cal.

Once again Photoplay wins new laurels
as the nation’s top movie magazine! I’m
speaking of the Gold Medal Awards.

When it comes time for the next Gold
Medal Awards to be presented, I predict
that Lana Turner will not only be one of
the “Top Five” actresses, but that Lana's
popularity will reach an all-time high.

Richard Arnold [r.

La Plata, Mo.

Do you know that one of your Gold
Medal winners, Ingrid Bergman, recently
issued a statement saying she would not
send out anymore fan photos or give any-
more autographs? Now, you tell me just
where would Miss Bergman be, if it were
not for her loyal fans ?

I, for one, will not see any more of
Miss Bergman’s pictures, not even “Joan
of Arc,” which I so much wanted to see,
until Miss Bergman wakes up and pays
attention to her public.

Robert Dorsey
Pittsburgh, Pa.

Question Box:

I read that Glenn Ford always uses
the letters OPC. Can you tell me what
those letters mean?

Pi-iyllis Ann Russo

Brooklyn, N. Y.

(The initials OPC arc a good luck omen
with Glenn Ford which he refuses to tell
anyone about, even his family. He sees
to it that these initials appear in some zcay
in all his pictures. The studio says that
since the rest of Glenn Ford's life is an
open book, he is entitled to this one secret.)

Would you please tell me who played
the part of the radio control man on the
airport in “Fighter Squadron”? Has he
ever been married?

Nona Swiggum

Eau Claire, Wis.

fsi.r years old, is single.

He is si.r-feet-hvo, has
brown hair, blue eyes. He
is not under contract to a
studio, but will be doing
films for television and
has tentative plans for
pictures. )

Yesterday I saw “Jungle Patrol" star-
ring Arthur Franz and Kristine Miller.
Would you please tel! me if this is a new
picture? Is Arthur Franz a new star?

Penny Reamer

Chicago, 111.

(“ Jungle Patrol’’ is a new film. Arthur
Fran comes to Hollywood by way of the
theater. He was last seen as Major Jenks
in the Broadway production of “Com-
mand Decision.” )

There has been quite a difference in
opinion as to who actually ran away with
A ddie Ross (in “A Letter to Three
Wives”), as the picture did end rather
abruptly. Please let us know which hus-
band ran away with her.

Peggy Nelson
Denver, Colo.

(Peter Hollingway (Paul Douglas) ran
off with Addie Ross. H owever , as Doug-
las says in the end, “A man can change his
mind, can’t he?” So, at the end, all three
zinves had their husbands.)

Address letters to this department to
Readers Ine., Photoplay, 205 East 42nd
Street, Nezv York 17, N. V. However,
our space is limited. IV c cannot there-
fore promise to publish, return or reply
to all letters received.

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INSIDE STUFF

Ronnie’s magnetic! Here he’s turning the heads of lovely Liz Tay-
lor and her escort Glenn Davis while his wife looks elsewhere

( Continued from page 16)

Ringling Galleries in Sarasota.

After the showing, the Sherrys will
trek to New York and a look at the
shows. According to Bette they will stay
at a hotel within her husband’s price
range. Living simply is not new to Bette,
whose French Normandy home, overlook-
ing the Pacific at Laguna, is comfortable,
but not h nsh. All the contents of her
Butternut Farm home have been placed
in her permanent home by the sea and
the result, regardless of conflict between
Normandy architecture and Old English
furnishings, is charming.

The Holdens: Out the Valley in a stone
house that once belonged to Leon Errol,
lives one of the nicest families in Holly-
wood, or anywhere, for that matter. In
fact, Bill Holden, who came back to the
screen in “Dear Ruth,” after four years
in the Army, and his dark-eyed, intel-
ligent wife Brenda Marshall, have found-
ed a real institution in their nine years
of marriage.

The evening Cal went to their home for
dinner, Bill was adjusting the television
set for his two small sons, West and
Scott, and nine-year-old Virginia, Bren-
da’s daughter by a former marriage.

All the charm of a secure and happy
home life is theirs. Bill, in soft, white,
tie-less shirt and lounge suit after a
hard day at the Columbia ranch making
“Miss Grant Takes Richmond,” was
quietly getting his flock around the
television set, helping Brenda unclasp a
cantankerous string of beads and pre-
i paring cocktails.

Occasionally, Brenda will make a pic-
ture with Bill. They’re in “Beyond the
Sunset,” but mostly she’s just Mrs.
Holden and loves it.

He’s an amusing talker. At one point,
Cal went off into hysterics at Bill’s de-
scription of the constant, sort of be-
wildered, calm his movie roles call for,
while all around him characters are
engaged in exciting action; Billie De
Wolfe clowning, Edward Arnold thun-
dering, someone else fainting. His ges-
tures and take-offs killed us.

One of the first actors to enlist in the
Army, Bill emerged a Lieutenant. One of
these days we predict he’ll emerge a star.

Cagney Tells It: Surveying the weeds
that crowded the sidewalk in front of
his property, Jimmy Cagney decided to
do something about them. “I’m going
down there and clear them out myself,”
he informed Mrs. Cagney.

Alan Jenkins driving by stopped for a
chat with his old friend, and as the two
rested by a hedge, a car with a blonde at
the wheel drove by, turned at the corner
and slowly started back again. “Come
on back of the hedge and stoop down
while we talk,” Jimmy said. “I think
we’re being cased by a blonde.” So the
two scrounged behind the hedge and
chatted while the blonde drove back and
forth. When Jimmy returned to the
house his wife called to him. “Did you
see Jeanne all right?” she asked.

“Jeanne ?”

“Yes, your sister, Jeanne. She tele-
phoned she had to see you about some-
thing important and I told her I thought
she could find you outside somewhere.”

Jimmy quietly sneaked to the tele-
phone. “Alan,” he said, “don’t say any-
thing about my blonde admirer, will
you? It was my sister looking for me.”
Alan could be heard howling a block
away.

Happy Anniversary: It was Alan
Ladd’s seventh wedding anniversary, the
day Cal visited the “After Midnight” set,
and what a sight was the happy husband,
in a grimy, bloodstained suit, wearing a
raw, bleeding wound on his forehead,
with a matching one behind his ear,
courtesy of red make-up, of course.

“Now don’t say, if this is what seven
years of marriage does . . .” he grinned,
and we promised, if he’d tell us what
gifts he and Sue exchanged.

“Living room drapes and bathroom
tiles,” he said, with emphasis. And he
meant it. For the Ladds, deep in the
midst of building their first house, are
putting all their thoughts and dollars
into the project.

)tan cm tkn. Gov& i

★ Born in Lucerne, New York, wilh a
twinkle in her eye and rhylhm in her feel,
June Ally so n was an avid movie, fan who
would see musicals dozens of limes over. Her
enthusiasm led her to start dancing herself,
without benefit of teacher.

★ After graduating from high school she
tried Broadway — and it should surprise no
one that she was a success. After learning the
ropes in the chorus line, she was given That
Big Chance, a solo. She turned out to be a
sure-fire show-stopper.

■A That won her an M-G-M contract, and
she appeared in several hit musicals includ-
ing "Meet the People.” It was while working
on this picture that she met Dick Powell,
whom she married on August 19, 1945.

You’ll remember June as the acting-
singing-dancing lead in "Two Girls and a
Sailor,” and her fine performance in "Music
for Millions.” Then came her biggest success
up to that time, "Two Sisters from Boston.”
For her rew7ard, stardom. Hollywood’s top-
most rung achieved, she added to her laurels
by her performances in "Good News” and
"Words and Music.”

•fa June Allyson is gaining a well-earned
reputation as one of Hollywood’s most versa-
tile young stars. Before her fine dramatic
acting in "The Three Musketeers” and
"Little Women,” she proved herself a de-
lightful comedienne in "The Bride Goes
Wild.” Hers is a vital, appealing personality
that lends radiance to any role.

One of llollyw'ood’s friendliest people,
June is unaffected, sincere, brimming over
wilh energy. A mere description of her —
blonde hair, blue eyes, a diminutive five feet
one, 97 pounds — hardly hints at her charm.
You’ll find her more radiant than ever in
that true-life romance, "The Strat ton Story,”
in which she is ideally teamed with Jimmy
Stewart. We urge you to see it.

'fyJbnv '&jdt

☆ “THE STRATTON STORY" ☆ P

What
Should
I Do?

Claudette Colbert,
star of "Family
Honeymoon"

YOUR PROBLEMS ANSWERED
BY CLAUDETTE COLBERT

DEAR Miss Colbert:

I have been married for five months
and we are building our own home.
Maybe this building is a wasted effort, be-
cause my husband and I are not getting
along well. We live with his parents.

No matter what I do, my husband criti-
cizes me because I have not done what-
ever it is, exactly as his mother and sister
do it. They comb their hair a certain way,
cook a certain way, talk a certain way, and
I’m supposed to copy them.

How can I explain to my husband that
I have a right to do things my own way?

Mrs. Hazel R. B.

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It is obvious that every person in the
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to be an individual and to do things in an
individual way. However, in your case,
sticking stubbornly to your oivn way is
likely to cost you your husband. Why not
face the fact that there are always a dozen
ivays to do a certain task, and that the
method really doesn’t matter so long as
the task is accomplished?

I don’t think it is the actual doing of
things in the ways of your mother-in-law
and sister-in-law that exasperates you;
it could be, of course, that you are jeal-
ous of your husband’s implied admira-
tion of his family. Consider this and if
it is true contpier that jealousy at once.

Incidentally, there is a good chance
that when you move into your own house,
your husband’s attitude will be entirely
different. If you keep a lovely home for
him, he will be proud of you and perhaps
bore his family singing vour praises!

Claudette Colbert

Dear Miss Colbert:

My wife and I have been married for
nearly three years, and we have a nice
little girl who is six months old. My wife
is a good housekeeper, a saving soul, a fine
mother, and in every way is wonderful.

I have a technical job that I like, and I
believe I can see a long, comfortable
future stretching out for us.

You may think that if I’m such a happy
clam, why am I writing you, so I had
better explain: I can’t think of anything
to talk about when I am with my wife.
She is the quiet type, too, so sometimes we
will spend an entire evening together
without exchanging more than two or
three sentences. Sometimes I try to tell
her something that has happened at the
shop, but once I get started I become so
nervous, I cut the story short, ruining it.

I want to tell my wife what a good per-
son she is, and I want to share my ex-
periences, but I am stopped before I get
started.

Ford S.

( Continued on page 24)

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( Continued from page 22)

Be comforted. The simple truth of the
matter is that ninety percent of the ivords
spoken in his world are said with wasted
breath. If you will listen to run-of-the-
mill conversation, you will find that very
little of it is ivorth repeating. Don’t re-
gret your inarticulateness ; learn to turn
it to good advantage.

Remember too, that your wife has been
at home all day, keeping house, so she
needs a glimpse of the outside world. You
can bring that to her. Forget yourself
and think only of what would make her
smile, of what would interest her.

The old saying, “ Actions speak louder
than words,” is still good sense. If a
man is affectionate and eager to please
his wife, she doesn’t need long speeches
about love — she knows she is loved.

Claudette Colbert

Dear Miss Colbert:

I am a very happy expectant mother,
except for one thing. I dread going any-
where in our car because my husband
drives so fast. He swerves from lane to
lane, turns corners on two wheels, and
takes long chances at intersections.

I have tried, in a nice way, to make
him realize how this terrifies me. When I
say anything about it, he says he knows
what he is doing and that he is not going
to have me (because I don’t know how to
drive) telling him how to manage a car.

Do you have a suggestion which might
correct my husband’s attitude?

Mrs. James E. O.

Anyone who drives recklessly, at high
speeds, on our congested highways is
simply gambling with time ; sooner or
later he is going to hurt or kill himself,
the occupants of his car, and maybe the
occupants of another automobile.

It seems to me that the only thing you
can do at the moment to save arguments
( which are bad for your condition ) is to
refuse to ride with your husband until
he has learned that he is not the only
person on the road.

Claudette Colbert

Dear Miss Colbert:

I am a frequent motion picture patron,
that is, I try to see at least one picture a
week. My taste is universal; I like musi-
cals, comedies, horror pictures. Westerns,
anything, as long as the actors are talented
(how many are not!) and the script is one
I can’t predict after the first reel.

Hollywood’s documentaries are fre-
quently excellent; their persuasive power
can not be denied. Which brings me to my
peeve: Why won’t Hollywood portray
( Continued on page 26)

Have you a problem which
seems to have no solution?
Would you like the thought-
ful advice of

Claudette CJU?

If you would, write to her in
care of Photoplay, 321 S.
Beverly Drive, Beverly Hills,
Cal., and if Miss Colbert feels
that your problem is of gen-
eral interest, she’ll consider
answering it here. Names and
addresses will be held confi-
dential for your protection.

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( Continued from page 24)
marriage as it is, instead of glorifying it?

Why don’t you tell the truth: That most
marriages consist of a constant and thinly
veiled hostility between two people who
blame one another for every misery in the
world. Why don’t you show a curlered
woman across the breakfast table from a
bewhiskered man? Why don’t you show
the ugliness, the cruelty, the selfishness,
the deceit, the grinding poverty and the
ul imate defeat of most family lives? I
have to laugh at moralists shrieking about
divorce and insisting that the home is the
cornerstone of civilization. Maybe that’s
why civilization is in its present state!

How about making a picture about a
woman caught in a loveless marriage,
caught by two ugly, stupid children, caught
by the degrading daily drudgery of wash-
ing, scrubbing, cooking, mending, and don’t
let Joseph Cotten turn out to be the Rural
Free Delivery man on your route, either!

(Mrs.) Ada Z.

The reason Hollywood does not make
the picture you suggest is simple: No
one would go to see it. Hollywood, like
your own husband , works to make money,
not to scare away every possible customer.

It’s true that there are thousands of
bad marriages in the world ; it is also true
that there is no law in this country saying
that every individual must marry. Every
man and every woman has a choice.

I think you wrote to me only from the
depths of your oivn misery, yet you need
not be miserable. Your letter is that of
an intelligent woman. If you loathe your
lot, try to do something about it.

I have one suggestion : See your doc-
tor, tell him what you told me. He will
give you medical assistance toward a hap-
pier frame of mind, and with a rosier out-
look, perhaps you can adjust your life
nearer Hollywood standards of, well, bliss
or a reasonable facsimile, instead of want-
ing Hollywood to ad just to you.

Claudette Colbert

Dear Miss Colbert:

I am sixteen and a junior in high school.
During Christmas vacation, I was invited
to the home of relatives in Florida.

During my four weeks’ vacation, my
“best” girl friend wrote to me every day,
and I answered almost every day. I told
her all about the parties, about the new
boys I met, about learning to do my hair a
new way, etc. She wrote me all about the
gossip around town, such things as who was
going steady with whom, who had quar-
reled, who had a new dress; you know the
sort of stuff. I commented very freely on
these things.

When I came home, I discovered that I
was almost as popular as a Communist.

This girl had passed my letters around to
everyone, especially to those whose names
were mentioned in the letters. Now what
shall I do?

Valerie M.

This is one you're going to have to
charge up to profit and loss ; Profit, in
that you should have learned from this
experience, that nothing should ever be
written in a letter to a “ friend ” that you
wouldn't like to see posted on the bulletin
board at the post office ; loss, inasmuch
as it is going to be very difficult for you
to win back those fellow students whom
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about her. If someone asks if you are
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wish to discuss it." And don’t discuss it.
There is strength in silence.

Claudette Colbert

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Casts of Current Pictures

ADVENTURE IN BALTIMORE — RKO : Dr. Shel-
don Robert Young; Dinah Sheldon, Shirley Temple;
Tom Wade, John Agar; Mr. Fletcher, Albert Sharpe;
Mrs. Sheldon, Josephine Hutchinson; Mr. Steuben,
Charles Kemper; Gene Sheldon, Johnny Sands; Mr.
Eckert, John Miljan; H. H. Hamilton, Norma Var-
den; Bernice Eckert, Carol Brannan; Fred Beehouse,
Charles Smith; Mrs. Eckert, Josephine Whittell; Sts
Sheldon, Patti Brady; Mark Sheldon, Gregory Mar-
shall; Sally Wilson, Patsy Creighton.

ARCTIC MANHUNT — U-I : Mike Jarvis Mikel
Conrad; Narana, Carol Thurston; Q manna, Quianna;
Tooyuk, Wally Cassell; Lois, Helen Brown; Harry,
Howard Negley; Carter, Harry Harvey; Landers,
Russ Conway; Hotel Clerk, Paul E. Burns; Rev. John
Douglas, Jack George; Nakuchluk, Rosa Turich; Mail
Man, Herbert Heywood.

BRIDE OF VENGEANCE— Paramount: Alfonso
D’Este, Duke of Ferrara, John Lund; Lucretia Borgia,
Paulette Goddard; Cesare Borgia, Macdonald Carey;
Micneictio, Raymond Burr; liziano, Donald Ran-
dolph; Vanetti, Albert Dekker; Bastino, Charles Day-
ton; Capt. of the Guard, Anthony Caruso; Negligent
Sentry, Dick Foote; Prince Bisceglie, John Sutton;
Conti Peruzzi, William Farnum; Gemma, Lucretia s
maid, Kate Drain Lawson; Chamberlain, Nicholas
Joy; Fclippo, Fritz Leiber ; The False Physician, Doug-
las Spenser; Gianni, Court musician, George Zoritch;
Cesare’ s Herald, John Vosper; The Mayor, Nestor
Paiva; Bolfi, Frank Puglia; Lady Eleanor a of Mantua,
Rose Hobart; Councillors of the City of Ferrara, lan
Wolfe, Houseley Stevenson, Robert Greig, John
Beddoe.

CHAMPION— Screen Plays-UA: Midge Kelly, Kirk
Douglas; Grace Diamond, Marilyn Maxwell; Connie
Kelly, Arthur Kennedy; Tommy Haley, Paul Stewart;
Emma Bryce, Ruth Roman; Mrs. Harris (“Palmer") ,
Lola Albright; Jerome Harris, Luis Van Rooten;
Johnny Dunne, John Day; Lezv Bryce, Harry
Shannon.

CITY ACROSS THE RIVER— U-I: Stan Albert,
Stephen McNally; Mrs. Cusack, Thelma Ritter; Joe
j Cusack, Luis Van Rooten; Lt. Macon, Jeff Corey;
Alice Cusack, Sharon McManus; Betty, Sue England;

I Mitch, Anthony Curtis; Larry, Mickey Knox; Bull,
Richard Jaeckel ; Annie Kane, Barbara Whiting;
Gaggsy Steens, Richard Benedict; Jean Albert, Ana-
bel Shaw; Mr. Bannon, Robert Osterloh; Selma,
Sara Berner; Detective Kleiner, A1 Eben; Shimmy,

I Joseph Turkel; Frank Cusack, Peter Fernandez.

FLAMINGO ROAD — Warners: Lane Bellamy, Joan
Crawford; Fielding Carlisle, Zachary Scott; Titus
Semple, Sydney Greenstreet; Dan Reynolds, David
Brian; Lute-Mac Sanders, Gladys George; Annabelle
Weldon, Virginia Huston; Doc Water son, Fred
Clark; Millie, Gertrude Michael; Grade, Alice White;
Boatright, Sam McDaniel; Pete Ladas, Tito Vuolo.

IMPACT — Popkin-UA: Walter Williams, Brian Don-
levy; Marsha Peters, Ella Raines; Lt. Quincy, Charles
Coburn; Dene Williams, Helen Waixer; Su Lin,
Anna May Wong; Mrs. Peters, Mae Marsh; Jim
Torrance, Tony Barrett; Dist. Att., William Wright;
Capt. Callahan, Robert Warwick; Ah Sing, Philip
Ahn; Eldredge, Art Baker; Dr. Bender, Erskine
Sanford; Expert, Bill Ruhl; Farmer, Raymond Bond;
Operator, Linda Johnson; Apt. Manager, Ruth
Robinson; Police Sgt., Mike Pat Donovan; Reporters,
Dick Gordon, Arthur Hecht, W. J. O’Brien, Martin
Doric, Sammy Finn, Tom Martin; Burke, Tom
Henry; Board Member, Frank Pershing; Saunders,
Lucius Cooke; Della, Mary Landa; M. V. Driver,
Tom Green way; M. V . Helper, Ben Welden.

\MAN HAN DEED — Paramount: Merl Kramer, Doro-
;thy Lamour; Joe Cooper, Sterling Hayden; Karl
| Benson, Dan Duryea; Mrs. Alton Bonnet, Irene
. Hervey; Dr. Redman, Harold Vermilyea; Mr. Alton
Bonnet, Alan Napier; Detective Lieut. Dawson, Art
iSm.th; Sgt. Fayle, Irving Bacon; Guy Bayard, Philip
j Reed.

MR. BELVEDERE GOES TO COLLEGE— 20th
Century-Fox; Lynn Belvedere, Clifton Webb; Ellen
Baker, Shirley Temple; Bill Chase, Tom Drake;

. Avery Brubaker, Alan Young; Mrs. Chase, Jessie
Rov'e Landis; Kay Nelson, Kathleen Hughes; Dr.
Gibbs, Taylor Holmes; Corny Whittaker, Alvin
Greenman; Dr. Keating, Paul Harvey; Griggs, Barry
Kelley; Joe Fisher, Bob Patten; Hickey, Lee Mac-
Gregor; Marion, Helen Wescott; Pratt, Jeff Chandler;
McCarthy, Clancy Cooper; Sally, Eevelynn Eaton;
Barbara, Judy Brubaker; Babe, Kathleen Freeman;
Marta , Lotte Stein; Jean Auchincloss, Peggy Call;
Nancy, Ruth Tobey; Peggy, Elaine Ryan; Isabelle,
Pattee Chapman; Fluffy, Joyce Otis; Davy, Lonnie
Thomas; Prof. Ives, Reginald Sheffield; Prof. Lind-
Icy, Colin Campbell ; Miss' Cadzvallcr, Katherine Lang;
Mrs. Myrtle, Isabel Withers; Instructor, Arthur
Space; Beanie, Gil Stratton Jr.

OUTPOST IN MOROCCO — Bischoff-UA : Capt.
Paul Gerard, George Raft; Cara, Marie Windsor;

I Lieut. Glysko, Akim Tamiroff; Col. Pascal. John
Litel; Emir of Bcl-Rashad, Eduard Franz; Bamboule,

| Erno Verebes; Caid Osman, Crane Whitley; Com-
\mandant Fronval, Damian O’Flynn.

SARABAND — Rank-Eagle Lion: Konigsmurk, Stew-
art Granger; Sophie Dorothea, Joan Greenwood;

; Countess Platen, Flora Robsoil; The Electress Sophia,
Francoise Rosay; The Elector Ernest Augustus,
Frederick Valk; Prince George Louis, Peter Bull;

RUDY

OLGA

CESAR

2 a

CENTURY-FOX

IMERO • VALUE • SAN JUAN

and STERLING HOLLOWAY • HUGH HERBERT
EL BRENOEL • PORTER HALL ♦ PAT) BEHRS
Written, Directed and Produced by

PRESTON STURGES

* Screen Play Baser! on a Story by Earl Felton

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Durer, Anthony Quayle; Prince Charles, Michael
Gough; Frau Busche, Megs Jenkins; Knesbcck, Jill
Balcon; Duke George William, David Horne; Count-
ess Elcanore, Mercia Swinburne; Major Eck, Cecil
Trouncer; Count Platen, Noel Howlett; Maria, Bar-
bara Leake; Lord of Misrule, Miles Malleson; Young
Prince George, Anthony Lang; Yoking Princess
Sophie, Rosemary Lang; Nils, Edward Sinclair.

SET-UP, THE — RKO: Stoker, Robert Ryan; Julie,
Audrey Totter; Tiny, George Tobias; Little Boy, Alan
Baxter; Gus, Wallace Ford; Red, Percy Helton; Tiger
Nelson, Hal Fieberling; Shanley, Darryl Hickman;
Moore, Kenny O’Morrison; Luther Hawkins, James
Edwards; Gunboat Johnson, David Clarke; Souza,
Phillip Pine; Danny, Edwin Max.

STRATTON STORY, THE — M-G-M: Monty Strat-
ton, James • Stewart ; Ethel, June Allyson; Barney
Wile, Frank Morgan; Ma Stratton, Agnes Moore-
head; Eddie Dibson, Bill Williams; Ted Lyons, Bruce
Cowling; Josh Higgins, Cliff Clark; Dot, Mary Law-
rence; Luke Appling, Dean White; Earnie, Robert
Gist; Gene Bearden, Bill Dickey, Jimmy Dykes and
Mervyn Shea, Themselves.

TAKE ME OUT TO THE BALL GAME — M-G-M:
Dennis Ryan, Frank Sinatra; K. C. Higgins, Esther
Williams; Eddie O’Brien, Gene Kelly; Shirley Del-
wyn, Betty Garrett; Joe Lorgan, Edward Arnold;
Nat Goldberg, Jules Munshin; Michael Gilhuly,
Richard Lane; Slappy Burke, Tom Dugan.

TOO LATE FOR TEARS— Stromberg-UA ; Jane
Palmer, Lizabeth Scott; Dan Blake, Don DeFore;
Danny Fuller, Dan Duryea; Alan Palmer, Arthur
Kennedy; Kathy Palmer, Kristine Miller; Lieut.
Breach, Barry Kelley.

TULSA — Wanger-Eagle Lion; Cherokee Lansing,
Susan Hayward; Brad Brady, Robert Preston; Jim
Redbird, Pedro Armendariz; Bruce Tanner, Lloyd
Gough; Pinky Jimpson, Chill Wills; Johnny Brady,
Ed Begley; Steve, Roland Jack; Nelse Lansing, Harry
Shannon.

UNDERCOVER MAN, THE — Columbia: Frank
Warren, Glenn Ford; Judith Warren, Nina Foch;
George Pappas, James Whitmore; Edward O’Rourke,
Barry Kelley; Stanley Weinberg, David Wolfe; In-
spector Herzog, Frank Tweddell; Joseph S. Horan,
Howard St. John; Sergeant Shannon, John F. Ham-
ilton; Sidney Gordon, Leo Penn; Rosa Rocco, Joan
Lazer; Maria Rocco, Esther Minciotti; Theresa Rocco,
Angela Clarke; Salvatore Rocco, Anthony Caruso;
Manny Z anger, Robert Osterloh; Gladys La Verne,
Kay Medford; Muriel Gordon, Patricia White;
Johnny, Peter Brocco; Judge Parker, Everett Glass;
Newsboy, Joe Mantell; Fred Ferguson, Michael Cis-
ney; Alice Ferguson, Marcella Cisney; Harris, Sid-
ney Dubin; Druggist, William Vedder.

WINDOW, THE — RKO : Mrs. Woodry, Barbara
Hale; To?nmy, Bobby Driscoll; Mr. Woodry, Arthur
Kennedy; Mr. Kellerson, Paul Stewart; Mrs. Keller-
son, Ruth Roman.

YOUNGER BROTHERS, THE — Warners-First Na-
tional: Cole, Wayne Morris; Kate, Janis Paige; Jim,
Bruce Bennett; Mary, Geraldine Brooks; Johnny,
Robert Hutton; Sheriff Knudson, Alan Hale; Ryck-
man, Fred Clark; Bob, James Brown; Joe, Monte
Blue; Hatch, Tom Tyler; Hendricks, William For-
rest; Chairman, Ian Wolfe.

Listen To:

BILL

STERN’S

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NEWSREEL"

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PLATTER

By Lester Gottlieb

THE HUMPHREY BOGART RUM-
BA: Here’s the new novelty hit that
catalogs all your favorite movie stars
and in Latin-American rhyme. Betty
Garrett (M-G-M) does a slick job with
the tune plus a surprise ending you’ll
like. Freddy Martin (Victor) gets
nostalgic with the same number, reeling
off a list of long-forgotten screen
names.

DANNY KAYE: Danny has made a
new Decca disc worth having. He’s
revived the timeless "St. Louis Blues”
and a cutie from 1912 called "Ballin’
the Jack.”

TAKE ME OUT TO THE BALL
GAME: "The Right Girl for Me” gets
the big play from Gordon MacRae
(Capitol) and Sammy Kaye (Victor).

A CONNECTICUT YANKEE: Bing,
himself, has waxed all the Burke and
Van Heusen tunes for Decca. You’ll
also like The Modernaires’ version of
"Busy Doing Nothing” (Columbia),
the way Frank Sinatra sings "If You
Stub Your Toe” and the ballad, "When
Is Sometime?” (Columbia). Dance
tempos with the latter tune get Jack
Fina interpretation (M-G-M). Art
Mooney’s band concentrates on "Once
and for Always” (M-G-M).

EASTER PARADE: Better late than
never, is the best way to welcome the
original sound track recordings of this
film. The stars, Fred Astaire, Judy
Garland, Ann Miller and Peter Law-
ford, recreate their versions of such
winners as the title tune, "Steppin’ out
with My Baby,” "A Couple of Swells,”
"Better Luck Next Time” and "Chasin’
the Blues Away.”

PORTRAIT OF JENNIE: The ten-
der theme from this beautiful film is
exquisitely handled by The King Cole
Trio (Capitol).

POPULAR ALBUMS: Lyn Duddy’s
Swing Choir, a really talented and
fresh group, run through a collection
of good old Gus Edwards tunes in a
new M-G-M collection . . . Al Good-
man and his orchestra play eight beau-
tiful Victor Herbert tunes in a pretty
Columbia packet . . . Capitol issues
a single "virtually unbreakable” record
for kiddies called " Witch- A-Ma- Jig”
sung by Smilin’ Ed McConnell and his
Buster Brown Gang.

_L <dPr*ess a dPi'naer* cPcikic#..-
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School (lavs: Shirley Temple discovers college life
with Clifton Webb is not according to the curriculum

(F) Mr. Belvedere Goes to College
(Twentieth Century-Fox)

HILARIOUS is the word for this sequel to “Sitting
Pretty.” That’s only to be expected, however,
with that one-man laugh riot Clifton Webb again
portraying the eccentric Lynn Belvedere. Win-
some Shirley Temple and likable Tom Drake are
on hand this time, making an attractive twosome.

Webb enrolls to win a ten-thousand-dollar lit-
erary prize, which he can only claim if he holds a
college degree. The ex-baby sitter, author and
self-confessed genius intends to complete the
four-year course in one year, an unheard of feat.
However, as the faculty, students, and his cocky
roommate, Alan Young, soon discover, nothing is
beyond Webb.

Your Reviewer Says: Wins a diploma for laughs.

v'v' (F) Saraband (Rank-Eagle Lion)

THIS is an elaborate, handsomely mounted Brit-
ish film of not-so-royal royalty in the 1680’s.
Stewart Granger and Joan Greenwood are the
ill-starred lovers, sacrificed to dynastic ambitions.

Joan movingly portrays Princess Sophie Doro-
thea who, at sixteen, is married off to middle-aged
George Louis (Peter Bull). Mother-in-law Fran-
coise Rosay sees to it that Joan conducts her-
self as befits the wife of a man who one day will
rule England. Life is lonely for Joan until Gran-
ger, a soldier of fortune, puts in a dashing appear-
ance. Their romance, however, is doomed from the
start because of conniving Countess Platen. As
played by Flora Robson, she is a diabolically clever
creature, whose rage knows no bounds.

Your Reviewer Says: Vivid historical romance.

Big-time drama with small town setting: Joan Craw-
ford and David Brian register as a romantic team

^ (F) Flamingo Road (Warners)

AN amazing actress — Joan Crawford. She lends
lustre to every part she plays, she really makes
the character live.

This time Joan is a refugee from a carnival.
Life has treated her shabbily but she’s no quitter,
even when confronted by such a formidable foe
as Sydney Greenstreet. He’s a political boss with
high ambitions for his protege, Zachary Scott.

It’s a spicy concoction of romance and politics
which introduces attractive newcomer, David
Brian. As the understanding older man in Joan’s
life, Brian registers in a big way. Scott is con-
vincingly weak-willed, Greenstreet unbelievably
villainous while Gladys George plays a brassy but
big-hearted owner of a roadhouse.

Your Reviewer Says: A compelling drama.

Shadow

By Elsa Branden

v'v'V Outstanding Very good ^ Good

F — For the whole family A — For adults

Triple play triumph : Frank Sinatra, Gene Kelly and
Esther Williams score in tap-happy musical mix-up

All in the game: Love takes a beating in realistic
fight story featuring Kirk Douglas, Marilyn Maxwell

''V (p) Take Me out to the Ball Game
(M-G-M)

ftUPID is the umpire in this Technicolor triple-
I header with Frank Sinatra, Gene Kelly and
Esther Williams.

As boss of the ball team, Esther makes all the
boys toe the mark and even lady-killer Kelly can’t
sweep her off her feet. When not on the diamond,
Frank and Gene are wowing the customers as a
song-and-dance team.

Betty Garrett is amusing as a man-chasing fe-
male; Jules Munshin makes a comical ball player;
Edward Arnold is the menace. Apart from his
acting chore, the clever Mister Kelly collaborated
on the story and staged the musical numbers. The
result is a tuneful, enjoyable movie.

Your Reviewer Says: Snappy, happy filmusical.

^ (F) Champion (Screen Piays-UA)

IONG, loud cheers for the season’s smashing
i movie of the fight game.

Kirk Douglas, well on the way to being the
screen’s most magnetic male, arrestingly portrays
a boy driven by the desire to make something of
himself. But he doesn’t care whom he hurts in
the process. To the public, Douglas is a hero who
has walloped his way to the championship. How-
ever, Kirk’s crippled brother, Arthur Kennedy, his
loyal manager, Paul Stewart, and his various lady
loves have reason to feel otherwise.

These dramatic episodes in the champ’s life are
punctuated by highly realistic bouts in the ring.
All told, an ably acted and directed picture with
Douglas emerging as the winner.

Your Reviewer Says: It’s a knockout!

For Complete Casts of Current Pictures See Page 27.

For Best Pictures of the Month
and Best Performances See Page 107,

^ (F) The Window (RKO)

DISGUISED as a simple story about an over-
imaginative little boy, this is actually more
exciting than a half dozen Westerns put together.
Young Bobby Driscoll draws the plum part. Like
the lad in Aesop’s fable, he tells so many tall tales
that nobody pays attention when he cries, “Wolf!”
His parents, Barbara Hale and Arthur Kennedy,
are at their wits’ end because of his constant
stream of stories. So when Bobby reports a real
murder, they put it down as pure invention. Paul
Stewart and Ruth Roman alone know that Bobby
is telling the truth and must be silenced.

A different kind of picture, this will hold you
spellbound. Bobby is completely believable, while
Kennedy and Stewart are outstanding.

Your Reviewer Says: A fascinating film.

( Continued on page 104)

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• • •

1HIS, the June, 1949, issue of Photoplay
is a very special issue.

It is Photoplay’s way of thanking an old
friend.

This June, Metro-Goldwyn-Mayer cele-
brates its twenty-fifth year of motion pic-
ture production.

In the world of films, twenty-five years
are a dozen lifetimes . . . the lifetime of
the silent films, the career lives of glitter-
ing Garbo, John Gilbert, Marie Dressier,
Norma Shearer . . . the coming to life of
sound, the screen birth of Gable, Garland,
Rooney . . . the newer advent of Lana
Turner, June Allyson, Gene Kelly, Greer
Garson, Esther Williams.

In these twenty-five years, we, who are
movie-goei's, have been brought hours of
laughter and romance, moments to forget
worries and tears.

To thank the movie makers, Photoplay
offers this anniversary issue. In it you will
find a gay history of Metro, Leo the Lion’s
confessions, a contest of star-giving,
neai'ly two dozen features and rich pages
of portraits.

From the cover of June Allyson to the
last column of back-of-book type, it is
Photoplay saying: Congratulations to
Louis B. Mayer and M-G-M for the fine
production leadership which for twenty-
five years has maintained a standard of
the best in motion pictui’e entertainment.

BY LOUELLA 0. PARSONS

On the “Zaca” in happier days when it looked as
if Nora and Errol were sailing in calmer waters

But a sudden change of heart sent Nora to Las Ve-
gas with Dick Haymes to prepare for her divorce

Nora stayed with Errol when the world

asked why. The ending should have been

“So they lived happily ever after.”

IF YOU wrote the story of Errol Flynn and
Nora Eddington as fiction, I doubt if you
could sell it.

Fiction should be plausible. And what is
plausible about a man, who is one of the most
fascinating, handsome and sought-after in
the world, losing a beautiful little former
cigarette-stand girl who at one time adored
him? She told me once, “Being married to
Errol has not been easy. He is a carefree
bachelor at heart. But he is the only man in
the world for me and I will stick to him, no
matter what happens.”

And, because she loved him so much, the
man began to change. He forgot about his
carefree bachelor days in his pride in his
family. He laughed when he was kidded
about settling down to home and fireside.
They were blessed with two beautiful little
girls, to whom they gave the fascinating Irish
names of Diedre and Rory.

And the ending of the story of Errol and
Nora should have been, “So they lived hap-
pily ever after.”

But, somewhere in the middle, the plot went
off the track. The girl changed “character” in
mid-drama. The same girl, who had said she
wanted nothing in life but the man she loved
and to be the mother of his children, suddenly
walked out on everything that has been dear
to her. It doesn’t add up.

Even Errol does not know why his beautiful
wife left him and is suing for a quick divorce
in Las Vegas! I can tell you this, and many
more things straight ( Continued on page 72)

Today Errol still says, “I never want to
hurt Nora.” His next film is “Montana”

I!V ANN MACGREGOR

Seventeen is not an age of reason — it's
that romantic age — when falling in love
is just a young girl’s way of growing up

IT SEEMS only yesterday that Elizabeth Taylor was writing slender volumes
about a pet chipmunk. And until recently, a photograph of her without a pet
was a rarity. But now this is changed. Now, seventeen and an authentic
beauty, Elizabeth proves true to her years. She still cares about her pets but
she has less time for them. There are men in her life.

There’s Glenn Davis to whom she was almost engaged. Glenn was her escort
at the Academy Awards, a signal honor certainly. There’s Jerome Courtland.
Her dates with Jerome usually take them to the movies. She sees Tommy Breen
too. She and Tommy like to go for long rides and talk about Life.

Thei’e also is William Pauley Jr., whom Elizabeth met at a dance in
Florida and who currently is the Taylor’s house-guest. Bill seems the man
of the moment. But how long this will last is as uncertain as spring and
seventeen. For shortly, Bill departs to make way for the Delepinos of
London. The Taylors and the Delepinos are old friends. But the fact remains
that Mickey Delepino, just twenty-one was Elizabeth’s constant escort re-
cently when she was in London. ( Continued on page 74)

Liz with her parents: Father
took a firm stand when Glenn,
in portrait, proposed —
paying for that ice cream !

Electric in blue:
Elizabeth Taylor
of “‘Conspirator”

Coplcin-Dirone

WIN

A PRESENT FROM A STAR

. : 1

Calling all readers for a chance to win — a diamond ring, a
flying trip to Hollywood or any one of fifty wonderful prizes

ENTRY BLANK
Write a last line for this jingle

For twenty-five years now Leo’s
roar

Has been the prelude to movies
galore.

Long may he reign
In his movie domain

( Fill in line to rhyme with 41 roar .")
Example: Proud guardian of stars we adore.

Fill in the prize for which you are competing and
the name of the star who is giving it. Also your
name and address and mail to:

Photoplay-Metro Contest, P. O. Box 1448,
Grand Central Station, New York, N. Y.

I want the from

( name of prize ) ( name of star )

Name

Street

City State

A TWENTY-FIFTH ANNIVERSARY!

But on this occasion the celebrant —
the Metro -Goldwyn- Mayer Studios — gives
presents instead of receiving them. So win
a present from a Metro star!

Prizes

Donors

1. Prism-Lite diamond

June Ally son

ring and gold wed-

ding band

2. “Little Women” dress

Janet Leigh

by Lanz of Califor-

nia, size 13

3. Set of Coro Costume

Judy Garland

Jewelry

4. Guitar used in “Bor-

Ricardo

der Incident”

Montalban

5. Purse carried in “The

Greer Garson

Forsyte Saga”

6. American Airlines

Robert Taylor

round trip to Holly-

wood from airport

nearest to your home

7. Saks-Fifth Avenue

Ava Gardner

Sweater, size 34

2. Esther Williams-Cole

Esther Williams

of California Swim-
suit worn in “Nep-
tune’s Daughter,”
size 36

9. Topflight Tennis
Racquet

Van Johnson

( Continued on page 102)

To make you glow — June Allyson’s gift of a
Prism-Lite diamond ring, gold wedding band

You’ll have time on your hand if you win Ann
Sothern’s present — a ladies’ Gruen wrist watch

Ricardo Montalban hits a high note with his
gift — the guitar he uses in “Border Incident”

The last word for smokers! Walter Pidgeon
chose the Ronson Master Case for his prize

Winning accessory for the line that wins is
Betty Garrett’s donation of a smart Ingber bag

To 3 winners, a set of “Little Women” dolls
by Mme. Alexander from Margaret O’Brien

Greer Garson’s gift — the beaded
purse she uses in “Forsyte Saga”
Shugrue

For that lucky line — a Saks Fifth Avenue
sweater from Ava Gardner in size 34
Fink

For the music minded — an autographed
album of Jeanette MacDonald’s records

Fink

Gray bill

Dyer

Graybill

For an original last line — an
original Frank Sinatra painting

Something to aim for — Topflight tennis
racquet will be Van Johnson’s prize gift

Round trip to Hollywood from Rob*
ert Taylor, via American Airlines

From Ann Miller, the Saks Fifth Avenue dancing
shoes she wears in “On the Town,” in size 7V*>AA
Gray bill

Manat

Here’s your chance to traveT in style, cou
of Peter Lawford — a handsome set of luggage

Smart present for a smart winner — Audrey Totter poses
in her donation — an original hat by John-Frederics

Graybill

Don't^ waste a second trying for this one — a beautiful
Gruen wrist watch, with the compliments of Gene Kelly

When Peter Lawford feels a black mood coming on he heads for the sea

1 1

H /

BY HERB HOWE

Lawford yearns for the
life of a beachcomber while
the ladies yearn for the
love of Pete

Photographs by Ann MacNamara

PRINCESSES of Hollywood in
white mink and diamonds appear
to have everything. Actually
they suffer cruel want of Heaven’s
most precious gift to girlhood — the
loving male. Among the young
actors, there are not enough Romeos
measuring up to the Juliets’ ideal
requirements. To the girls’ piteous
wail that there are not enough men
in town, Peter retorts there are not
girls enough either.

Now on the twilight side of
twenty-five, Peter reminisces of the
good old days of his teens that he
spent with Judy and June and Ava
and Lana. As each in turn was
snatched into matrimony, he took
to brooding on the beach.

Lately, ( Continued on page 94)

He believes be looks like his father, in portrait above, but thinks he has his mother’s temperament

Mike Romanoff has a special greeting for Pete, whose

He receives more letters than any other actor on the
studio lot. His next picture will be “The Red Danube”

ones

BY GREGORY PECK

Peter Pan in blue jeans —

FROM where I stand, after five years’
acquaintanceship, Jennifer Jones is a
dual personality — artist and girl.

A difficult portrait to pen, “the Jones
girls.” Never will I forget an embarras-
sing interlude at a dinner party a couple
of years ago. During a lull, when one
could, or could not, sound quite pro-
found, a young admirer of Jennifer’s was
full of questions about what Miss Jones
was “really like.”

“Well, she’s ...” I began, and then I
stopped, searching for a suitable capsule
comment. Finding none, I turned to
another star present who also knew
Jennifer.

“Well . . .” he said, and handed it back
to me. Between us we made what prob-
ably were the two shortest after-dinner
speeches ever given.

What is she really like? Artist and
girl? I agree with my friend John Hus-
ton, who directed Jennifer in “We Were
Strangers,” and with whom I’m asso-
ciated in “Quo Vadis.” John, full of
admiration for Jennifer’s sensitive per-
formance in the ( Continued on page 76)

hiding behind the skirts of a great actress

Jennifer (with Louis Jourdan, Vincente Minnelli) is a “Patsy” for a practical joke

Woman of the world: Jennifer as the
alluring “Madame Bovary”

j Manatt

_^ady
with a
past

Pamela is one year old now and the Powells
are convinced she shows signs of genius

June learned to lead with
her right while making

“The Stratton Storv”

( 'Sever c^irl

BY JUNE A1LYS0N

Some things can’t be forgotten — like
the orange juice stand, dancing on a
dare, those Dick Powell musicals and
that taxi ride that took June’s last cent

THIS morning, I wriggled luxuri-
ously in my first pair of real
silk pajamas. Then I jumped
right out of bed and my feet sank
deep in the nice, thick, pink rug on
my bedroom floor. “M-m-m-m!” I
said, with hearty emphasis.

Sleepily, Richard said, “M-m-m-m,
what?”

“Just m-m-m-m! I feel wonder-
ful,” I replied.

“I don’t see how you can be so
enthusiastic about getting up,” he
chuckled.

I didn’t remind him he’d never
gone riding his tricycle in a thun-
derstorm when he was a boy, had
lightning strike a tree so a limb fell,
killing his dog and seriously injuring
his spine. When that happened to
me, once, I had to lie in bed for a
long, long time, just dreaming that
maybe someday I might again be
able to jump out of bed. I don’t
remember much about the room.
I don’t know if it had a rug on the
floor or not. ( Continued on page 77)

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The rainy-day funds are often rifled by Richard, but he always leaves IOU’s

Richard insists upon light breakfasts, but ends up eating half of June’s
When June saw Dick in his early films, she never dreamed she’d marry him

M-G-M STUDIOS

BY WYNN ROBERTS

Dreams and jealousies, ambitions and loves, color this
history that only a Hollywood studio could produce

THE actual formal celebration of the birth of Metro-Goldwyn-
Mayer occurred on May 19, 1924, with appropriate grand gestures.
It was a definitely exciting occasion, for which plans and amalga-
mations had long been in the work. The air was full of optimism and
happiness, yet nobody could possibly vision what a great institution
was being started that lovely spring day.

Yet, it was very glittering. As master of ceremonies, the great Will
Rogers rode on a white horse to the center of the broad lawn that lay
between the six stages. Just think of it — six stages! What’s more,
Will introduced all six of the new M-G-M stars. Just think of that,
too — six stars all under contract to one organization. Lights flashed.
Cameras ground. History distinctly was being made.

It was super-colossal, the birth of M-G-M, only they didn’t call
it super -colossal then. They called it epic. Until that moment, the

Impossible, they said, to equal Lil-
lian Gish — but now there’s Ingrid

Loretta Young — she played
adult roles when she was 13

Era of titles: Valentino, Pola Negri, newly-
weds Mae Murray, Prince David Mdivani

The Metro-Goldwyn-Mayer studios twenty-five years ag<

-when six

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stars under contract to one organization made Hollywood history

Doug Fairbanks, Sr., Louella Parsons, Duke de
Santa Mauro visit Marion Davies on set of film

The hoy genius who helped put M-G-M in f
— the late Irving Thalberg with his wife.

M-G-M STUDIOS

In “So This Is College” with Sally Starr, Elliott
Nugent, Bob Montgomery, right, made good a boast

has retained its top manpower, practically un-
changed over the years. Goldwyn, while he loaned
his name to the original combine — in exchange for
some quick cash, you may be sure — was never actu-
ally a part of it. But Mayer, the instigator, has just
signed a long term contract as boss man. The
“Metro” interests, in those early days, were repre-
sented by Marcus Loew. He is dead now, but his
son, Arthur Loew, inherited his position. Harry
Rapf, there on the momentous beginning day, was
still part of the firm when he died a few months ago.
And Irving Thalberg undoubtedly would be there
also, had he lived! But he didn’t live, this boy genius,
whom Mayer hired away from Universal.

Thalberg started in the film trade when he was
so young he couldn’t sign Universal’s checks. But
his talent had no truck with years. He might have
been in his teens, but he put Universal in the front
ranks.

Mayer picked him as his assistant, just as twenty-
five years later, he has picked Dore Schary for the
same position, and for about the same reasons.

The world might never have known Marie Dressier
hut for Hazel, her maid, left. (Claire Du Brey, right)

idea of any group in Hollyv/ood having six stars and
six stages — plus six hundred movie employees all on
a single payroll — was as fantastic as it would be to
imagine there would ever be found another actress
with the spiritual insight and the personal simplicity
of Lillian Gish.

This latter speculation was dismissed as com-
pletely impossible. Hollywood said there would
never be another star with the qualities of Lillian
Gish, one of the first of the six M-G-M stars.

So, twenty-five years later, in February, 1949, the
actress who possesses exactly this combination of
qualities, spiritual insight and personal simplicity,
came to her third Photoplay dinner to accept her
third Photoplay medal as reward for having the
greatest popularity with the public. Ingrid Bergman,
of course. And in 1949, also, M-G-M has thirty-one
stages, 3500 employees, 76 stars and featured players
under contract, and the head of the studio is still Mr.
Louis B. Mayer.

In today’s Hollywood, a standout fact about
Metro-Goldwyn-Mayer is the manner in which it

Joan Crawford’s instinct changed Gable, with second
wife Rhea, from Mr. Nobody to a studio somebody!

Thalberg was sensitive, cultured and, at the same
time, a practical showman. Schary, first as a writer
at M-G-M, and only a couple of seasons ago as head
of RKO, has revealed these same qualities.

It was Thalberg who saw the possibilities of “The
Big Parade,” which had been expected to be just
another program picture. It was Thalberg who was
producer of the first big screen musical. And it was
Thalberg, in the beginning, who understood actors
and their ambitions so that he got the very best
from them.

Today, this latter sensitiveness is embodied in
Benny Thau, who in 1924 was an office boy with
Loew, Inc., which again means he has been with the
studio all this time. So, too, has Eddie Mannix, its
business manager, and Howard Strickling, the pub-
licity director.

These are great Hollywood executive names.

And the M-G-M stellar names are great. All of
them from Gable and Garson, through Turner and
Taylor, down to Lassie and the youngest stars,
Margaret O’Brien and ( Continued on page 108)

“Marie Antoinette” brought tears for Norma Shearer
and Tyrone Power — but for very different reasons

Nelson Eddy, Jeanette MacDonald scored as musical
team but the public wanted a wedding picture

His dates with Millicent Rogers
found Clark in the social set

Clamorous girl executive Anita
Colby is still a “good friend”

With Carole Lombard, the blithe spirit
who loved life and laughter — and Clark

BY ELSA MAXWELL

A surprising view of Clark from a surprising source — a lady who isn’t in love with him

LAST summer I saw a great deal of
Clark Gable. We holidayed on the
French Riviera at the same time.
I remember Clark, especially, on the
terrace of Eden Roc. He had joined
Dolly O’Brien Dorelis and me after a
golf game with the Duke of Windsor.
He was, I decided, the best looking man
I know. Health radiates from him. His

teeth are white. His eyes are sparkling.

Dolly teased him about his general
color scheme, the light gray scarf that
matched his eyes, the fine blue silk
sweater that matched his blue trousers.
And as she talked, I remembered the
old Hollywood days, when beat-up
trousers and an old leather jacket
suited Clark ( Continued on page 97)

The unpredictable: Clark

Cable of

“Any Number Can Play

►

Hubbell

Elsie, the cook, fixes Van’s

lunch pail every day — puts in extra

vitamins if she thinks he’s looking tired

( Tune in Breakfatt in Hollywood — Monday through Friday, 1 p.m.,PST; 2 p.m., EST, ABC )

BY JACK McILROY

A.M. greetings from Jack McElroy

IF you don’t like routine, stay
away from Van Johnson’s house
early in the morning. Van
moves through the first hour of
his day with timetable accuracy.
His alarm rings at 7 a.m. But
long before the first buzz, he is
showered, shaved and dressed.
Alone in the dining room, he
drinks fruit juice and black coffee
and takes a quick look at the
morning paper, not neglecting
the sport page. Then he dashes to
the kitchen to inspect the lunch
that Elsie, who used to cook for
President Hoover, is packing in
his ample lunch pail. He carries
his lunch because, long ago, he
discovered that Elsie, packing it,
allows for a man’s appetite for
midmoming and midafternoon
snacks. Again in the dining room
— Evie’s downstairs by this time —
he consumes poached eggs, bacon
and toast. Evie contents herself
with juice and coffee. Schuyler
Van, in her nursery, has her rou-
tine, too. She makes mud pies
out of her pablum and dips her
fingers into the applesauce.

At 7:55, Van bids Evie and'
Schuyler goodbye. The studio
gateman says you can set your
watch by Van’s arrival at 8: 15.

V-

There’s method in
Van Johnson’s early
morning madness.
Even Schuyler Van is
learning that a daily
routine can be fun

Van has coffee and juice
alone. Evie joins him later
for real breakfast

Butch Jenkins arrives early with Van’s
dinner dessert — banana nut ice cream

And so to work. Schuyler Van needs Evie’s support for that
goodbye kiss. Van’s new film is “The Good Old Summertime”

Jane Powell, at left, was floored with her gifts! Next to her, left to right, are Amanda Blake, Marsha Van
Dyke, Janet Leigh, Angela Lansbury, Ann Miller and Mary Jane Smith, who started her movie career next day

THE most exciting thing in a newly engaged
girl’s life is her first shower. Especially when
it’s a surprise like the one Jane Powell’s
actress-pals at the Metro Studios gavejier re-
cently. Not only did they bring her presents for
her hope chest, they brought the supper, too.

Angela Lansbury, who has just completed
“Samson and Delilah,” is very clever in mak-
ing things. She made the little cellophane
“shower” umbrella that was the center of the
table decorations, shaping it of wire wound
with white ribbon, covering it with cellophane,
clusters of white flowers and satin bows. An-
gela also brought the stuffed celery and deviled
eggs, all placed neatly on a cookie sheet, cov-
ered with waxed paper.

Janet Leigh brought the avocado and cottage
cheese salad, but couldn’t stay to enjoy it since
she was making a personal appearance at Birm-
ingham Veterans Hospital and had to be up
early the next morning for a retake for her
next picture, “Forsyte Saga.” She did wait until
all the packages were opened, and what a nice
variety of things Janie received to tuck away
in her cedar chest! Since it was a miscellaneous
shower, she got everything — from dainty table
linens, bath-towel sets, miscellaneous silver
pieces — to a black nightie!

All of the girls brought their swimming suits,
and after the presents were properly admired,
everyone announced ( Continued on page 85)

BY KAY MULVEY

Janie was caught — in a flood
of surprises. There was even a piggy-
bank for that rainy day!

Color photographs by Fink and Smith

Jane and Ann — and something different in desserts! Geary Steffen, Jane’s fiance, came calling — -and was captured!
Surprise ending: Serves Geary right, breaking in on a “Hen” party! All he has to do now is find Janie!

CONFESSIONS

Yesterday: Lucille Lesueur, Charleston cham-

pion. Today: Joan Crawford, dramatic actress

As told to Sheilah Graham

GATHER around, kiddies! I’m going to let my
mane down and talk. I don’t know whether
it’s ethical or not, but I have a story to tell,
and this is the time to tell it, when my big and
illustrious Metro - Goldwyn - Mayer Company is
celebrating my Silver Jubilee.

Twenty-five years! What joy, tragedy and
just plain nonsense has passed beneath my still
quite cute nose. Old love, young love, every kind
of new love! Tragedy, triumph, disillusionment!
All the pains and pleasures that fill a quarter of
a century of living.

I was there when a gangling Swedish girl
called Greta Gustafson, later tagged Garbo,
stumbled awkwardly into the studio, to star in
“The Torrent.” She’d never make the grade, I

This wasn’t acting, they said. Garbo and Gil-
bert in scene from “The Flesh and the Devil”

Deanna Durbin had the odds on Judy
then. But “Butterball” Garland stayed

OF LEO THE LION

A famous Hollywood character lets down his mane to give you an
intimate glimpse of the stars as the public doesn’t see them

told my boss, Louis B. Mayer. And in all truth,
I must say he was pretty doubtfu^ himself.

What a lovely liar Greta made of us! And
when John Gilbert fell in love with her during
“The Flesh and the Bevil,” brother, that was real
loving! I never could understand why they ig-
nored my advice to marry.

Talking of great lovers, I saw John Barrymore
through his last romance with his last wife,
Elaine Barrie. I wonder where she is now?
But what a time of it we all had when Caliban
was chasing, and vice versa, his Ariel, from coast
to coast and up and down the country. We
nearly went crazy here at the studio, because
John was making “Romeo and Juliet” and we
never knew from day to ( Continued on page 95)

The cross-country romance of John Barrymore,
Elaine Barrie kept studio heads up in the air!

Spangler Arlington Brough had to
change hi6 name and frame to click!

Bill Powell’s grief was shared by the world
when platinum-haired Jean Harlow died suddenly

SHE has no sense of time, invariably is late.

She is a rabid hat and lampshade maker.

She is allergic to people who gush and is constantly mis-
placing things.

She is very fond of garlic and would like to have four children.
She lives far away from it all — away out in Pacific Palisades,
a good fifty minutes drive from Beverly Hills.

She abhors bebop music.

She was christened Esther Jane Williams.

She has never kept a diary, has a lusty appetite, and deplores
the tension of modern American life which she believes is the
chief contributor to our increasing divorce rate.

She doesn’t like sardines, has no complexes or phobias, and
wishes she could play the piano.

She never takes aspirin.

She cries at sad movies, speaks a little Spanish and thinks that
sincerity is not a common virtue. She has been married nearly
four years to Ben Gage, radio announcer and singer, whom she
met as an Army sergeant on leave in Hollywood.

She has never worn a girdle.

Her opinion of girls and women who wear falsies, “They’re
not fooling anybody but themselves.” ( Continued on page 88)

She’s allergic to bebop but
dotes on garlic, saves on clothes
but goes berserk on groceries,
loves bullfights but can’t bear
to see birds in cages!

All-American blend: Esther
Williams of “Neptune’s Daughter”

•<-

Smith

Courtesy of the house :
Brian Donhevy always
uses the knocker on
Judy’s bedroom door

Assurance of tomorrow:
Judy’s “future” suite
is filled with expres-
sions of her dad’s love

The Donlevy home at Malibu Beach, overlooking Pacific,
where Brian waits for Judy’s half-yearly homecomings

BY RUTH WATERBURY

Brian Donlevy’s home is built out
of more than wood and bricks and stone
— it’s built out of a small
girl’s need for a “future”

Brian, of “Command
Decision,” doesn’t in-
tend to let his divorce
upset Judy’s balance

Fit for a fairy-tale
princess, her present
room is planned for
small-girl comfort

THIS is a love story, about how
to decorate a room for a debu-
tante-to-be. It has a co-starring
cast, Brian Donlevy and his six-
year-old daughter, Judy. But, over and above it
all, what makes it so distinctive is that it is the
squarest facing up to the problem of a child of a
divided home that we have ever encountered.

It’s mighty tough on young emotions when, six
months of the year, a child lives with one parent,
six months with the other. Judy Donlevy has been
doing this since she was four, when her mother and
daddy were divorced.

Now, Brian adores Judy, openly and admittedly.
He is a man of sentiment, as the Irish usually are,
and he is also a man of gi'eat political sense. So
what he is doing is to give his daughter the feeling
that the happy loved past ( Continued on page 92)

Someday Judy will appreciate the story behind the bed-
spread and canopy Brian used in her “future” room

When Margaret cried at her

mother’s wedding, people said.

“Spoiled child!” This is
her reason for those tears

My Mother
Understands

JfakqwttO'Bri&L

As told to Gladys Hall

Margaret with her mother and new stepfather, Don Sylvio. The minia-
ture fox-terrier. Spotty, was given to her by her boss, Louis B. Mayer

Kaphan

1 GUESS every little girl who has had her
mother all to herself, just the two of
them, wants it always to be like that.
I guess all little girls feel badly when it
isn’t like that anymore. I did. That’s why
I cried while Mummy was being married
to Don.

I cry very easily, it’s true. Not long ago,
we were on Mary Margaret McBride’s radio
program. Mary Margaret McBride asked
what they do to make me cry in pictures.
Mummy said, “They just tell her to cry and
she does. Would you like her to cry for
you now?” Mary Margaret McBride said

yes, she would, so I cried. I seem to have
so many tears.

I suppose it was selfish of me to cry at
the wedding. But Mummy doesn’t think so.
She says I have never disobeyed her, never
been any trouble to her and if I am a little
hurt and unhappy now, I should not be
criticized.

Mummy and Don Sylvio have known
each other for five years and she often said
that someday maybe she and Don would
get married. But I never believed she
really would.

My Daddy died ( Continued on page 100)

From the porch of her old home, Ava looks
into downstairs room where she was bom

That’s where her heart
longs to be — for Ava’s a girl
who never really left home

BETWEEN pictures, stars usually
head for Palm Springs or Sun Val-
ley. But not Ava Gardner. She
heads for Smithfield, N. C., a little town
outside Raleigh. Neighbors there re-
member her as the little girl who
played in the tobacco fields with their
kids. In Ava’s sister’s home, she’s just
one of the family, bririging fresh col-
lard home to cook, entertaining the
kids with her gay stories. No wonder
Ava’s known as one of the nicest girls
in Smithfield — and Hollywood!

Ava’s no star in Inez’s home — just Sis. Back in Hollywood,
she calls the family every week, writes almost every day

Three sisters: Elsie Mae Creech, left, and Inez Grimes, right,
didn’t want to pose with Ava at first — said they were too fat!

Neighbors greet Ava in village store, once owned by
Ava’s dad, now Elsie Mae’s, right, with nephew Mike

Niece Mary Edna Grimes, 15, was dismayed when she heard Ava
had reduced for “The Great Sinner.” She gets Ava’s clothes!

Roll call: Back row, Mr. and Mrs. Fred Gardner, cousins, Billy Grimes, Bobby and A1 Creech, nephews. Center, John and
Inez Grimes, Ava, Elsie Mae Creech, Mrs. Carl Gardner, cousin, Melvine Gardner, brother. Front, Mary Edna and Michael

shine in today’s fashion picture

WITH all the fancy parties that
have been given lately, and there
have been scads of them, believe
us — the formal ones have been out-
numbered by the really “rural” kind.
While New Yorkers have been going
berserk for bebop, the Hollywood
glamour-pusses’ craze for square
dancing has just about reached its
peak.

The George Murphys and the Bob
Montgomerys and their bunch have
become so good at it, they’re going
to challenge each other to a “match”
any minute. One night the Murphys
gave a party and the Lee Bowmans
danced so hard that Helene almost
fainted dead away. It took a quick
whiff of spirits of ammonia to save
the night for her. The Edgar
Bergens, Grade Allen and George
Burns, Connie Moore and Johnny
Maschio, June Allyson and Dick
Powell and the Bob Montgomerys
(natch!) were just a few of the
crowd of square-dancers— but not
“squares,” believe us. The gals wear
gingham dresses, usually, with great
full skirts, or just their stand-by
“peasant outfits.” The men wear just
about any old thing. It’s fun, but we
don’t think this particular craze will
last much longer. The film femmes
like to show off their lovely clothes
and a square dance is hardly the
setting.

That’s why Janet Leigh saves her
dreamy pink organdy dress for
really festive occasions. The tight,
strapless ( Continued on page 99)

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YOUR PHOTOPLAY

fresh out of the Uni-
versity of Pittsburgh,
couldn’t get a job. He wanted to dance. Ever since he’d
been a kid his feet had had a mind of their own! But
his luck was low — and Chicago booking agents, eold

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edge of town. “I’ll take it,” he said

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“You’ve just got time to go on,” the club
manager told Gene when he arrived.
“There are three shows, each twenty-five
minutes. The last one goes on at two.
I’ll give you dinner later”

HOLLYWOOD STAR ADVENTURES TOLD IN COMICS

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loaded trays the waiters carried by. Somehow he got
through that last show — then staggered to the wings

Fifteen years later, on the “On the
Town set, a waiter wheeled up a cart-
load of food. “A man from Chicago
left it — said he owed you a dinner!”

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Tangled Lives

( Continued, from page 35) from a man’s
heart, because Errol has just left my
house, following one of the most sincere
heart-to-heart talks I have ever had with
anyone.

He had said, “I was terrible to Nora
when we were first married, that I admit.
She was alone in Mexico when our first
baby was born. When she came back, she
moved in with her father and stepmother.
I was always failing her in some way.”

I could recall one such thing. I well
remember, when Bruce Cabot gave Errol
a birthday party, about a month after he
and Nora were married. Among the
guests was a girl who was madly in love
with “Flynn” and when he arrived with
his bride, this girl burst into tears, rushed
upstairs and cried all evening. I had sat
with Nora and Mrs. Gary Cooper during
dinner, and if Nora was conscious of the
commotion, she never let on.

“If she had left me then, I would have
deserved it,” Errol said. The shrug of his
shoulders implied, “But now, why, why?”

I’VE known Errol in so many moods. He’s
a fascinating devil, make no mistake
about it. Even now, when we were talking
so seriously most of the time, he had
flashes of that gay Irish wit. I haven’t the
slightest doubt in the world, but that he
is carrying a great, big torch. But he is not
putting on an act about it.

“Several weeks ago, I wouldn’t have
wanted to talk with anyone about this,”
he said. “Even to an old friend like you.
But I am getting a little adjusted now.

“Believe me, I never want to hurt Nora.
As you know, I love her mother and fa-
ther. They are living with me and have
been with me all through this. And they
are as puzzled as I am.

“In Hollywood,” he went on, “as soon as
a man and woman have trouble, instead
of the girl saying, ‘I’m going home to
mother,’ she goes to a lawyer. The law-
yer advises her to get a divorce instead
of trying to send her back to her husband.

“This town is filled with divorce lawyers
who believe in the operation instead of
the cure, not all of them, but enough.
Very often, if the wife would talk to her
mother, the mother would probably say,
‘Your father and I have weathered many
upsets in marriage. We, too, have had our
quarrels, but we have come through them.’

“The thing about our breakup, that
makes it so sad, is that it is so unneces-
sary. Believing this, I was bitter at first.
I thought I should fight the divorce. But
now I realize that is futile.”

“Then you think that there is no chance
of her coming back?” I asked him.

“No,” he answered, “I don’t think it is
possible, when things have gone this far,
for people to take up the pieces of their
lives together. My home is always open
to Nora, of course. And I hope that her
parents will live with me always.

“The important thing in my whole life
from now on is that two-year-old darling,
Rory. I don’t say that she is the most
wonderful child in the world, but I know
I wouldn’t want to go on without her.”
That irresistible grin spread over his face.
“She calls me ‘The Baron’ and talks right
up to me.”

“The Baron” is a nickname Raoul Walsh
gave Errol, and Rory heard it and liked it.

“You really adore her, don’t you?” I
smiled.

“With all my heart,” he said, “and I love
Deidre, too. I had a struggle with myself
to know whether it was right for our two
little girls to be separated. But I have had
Rory since she was born, she means every-
thing to me. The house would be lonely
without her. I’m home a great deal these

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( Continued frovi page 72) days.” He
smiled, “When a man gets older, he wants
to settle down.”

I couldn’t help laughing. With all his
seriousness, I just can’t see Flynn giving
up the beautiful girls for a life of early
dinners at home and listening to the radio.

“Don’t you believe it?” He shared my
laugh. “That’s for me, suits me fine.”

I ASKED Errol about taking Rory to visit
his own mother and father in Jamaica.
He told me that Marge, as he calls Mrs.
Eddington, would go with them.

“My mother and father have never seen
either of the children,” he explained, “and
I haven’t dared write them about this sep-
aration. We have never had a divorce in
our family until I popped up with two.
When I hinted that Nora and I were having
a little trouble, my mother advised me to
talk to Nora’s parents, and she was sure
everything would be all right.”

“And it wasn’t?”

“As you know, no, although Nora’s
father was the mediator in our divorce
settlement. Without his sympathy and
understanding, it might not have been so
amicable.” I happen to know that one of
the points Errol was going to fight for was
the privilege of keeping Rory with him.
When Nora threatened to balk at that,
they settled it by giving Nora the legal
custody of the two children and Errol the
“physical” custody of Rory.

“I can see it coming on that I’m going
to be one of those fathers!” Errol grinned.
“When Rory grows up, I’m going to be
sitting reading a newspaper when some
young squirt comes to take her out, and
I’m going to look right through him. If
he isn’t right, I’m not going to let her go
out with him!”

“Well, Errol,” I chuckled, “you will cer-
tainly know enough to protect your dar-
ling daughter from the wolves. Just re-
member, not so long ago you were one of

( Continued jrom page 36) The most
serious romance Elizabeth has known so
far was Glenn Davis of the U. S. Army.
In fact, it looked for a time as if there
would be an official engagement and Eliza-
beth would wear a West Point engagement
ring.

Elizabeth’s entire family liked Glenn. “It
was wonderful to see him and Elizabeth
together,” Sara Taylor says. And her de-
scription of their halcyon weeks together
reads like the young love story that it
was.

“It all began on an ordinary Sunday
last June,” Mrs. Taylor says. “We had
rented a house for the summer at Malibu
Beach near Hollywood, just as we always
do. And Elizabeth and her brother had
invited about twenty-five youngsters down
for the day for swimming, sunning and a
buffet supper at night. It was still morn-
ing and only a few guests had arrived
when the telephone rang. Elizabeth came
back from answering it to tell me, ‘Mother,
that was Doris. She and Hubie are coming
down and they’re bringing that Army foot-
ball player Glenn Davis. He’s a friend of
Hubie’s.’

“Doris May Kerns works in the publicity
department at Elizabeth’s studio and is one
of her best friends; Hubie, a former track
star, is Doris’s husband.

“I was the first Taylor to see Glenn,
when he arrived several hours later. There,
on the beach below us, were the twenty-
five kids, in slacks and bathing suits,
playing touch football for all they were
worth! Among them I saw pretty Janet
Leigh, and Elizabeth’s stand-in, Margie
Dillon. In the middle of them all, sliding on

those prowlers yourself.”

“That is how I will know so much,” he
laughed.

I said, “Errol, this breakup hasn’t soured
you on Hollywood and picture-making,
has it?”

“Not for a minute,” he replied promptly.
“I’ve never been more interested and more
content in my work. Remember how I
used to be straining to get away and see
the world? Well, that restlessness is over,
too.

“Greer Garson and I are having a won-
derful time making ‘The Forsyte Saga.’
She’s a wonderful woman. She’s brilliant,
intelligent, witty, and so much fun. We’re
always talking about England.

“Did you know that when Greer was
appearing on the stage in Birmingham
(England), I was twenty miles away at
North Hampton, trying to make a living?

“Whenever we do a scene that we think
might be better, Greer says, ‘Back to
North Hampton with you.’ Talking with
her brings back so many memories.”

Again I noticed that this man, who is
still young, attractive and popular, was
sounding a note of the past, as though
everything was over. That is one of the
unfortunate things about being deeply hurt.
It is hard to believe that enthusiasm and
love and the future can be picked up again.

But it will be for Errol, I am sure. No
matter what his mistakes have been, he
admits them. He wants to do the right
thing where everyone is concerned.

Whether Nora will find happiness, who
can say? She makes no secret of wanting
a quick divorce, so she will be free to
marry Dick Haymes when he is free!

There are many smashed hearts in this
matrimonial tangle and I can’t help wish-
ing that Nora had given her marriage a
little chance. Sure’n I know these Flynns
in life can be difficult, but they can be
pretty darn wonderful, too.

The End

her face in the sand with the ball, was
my daughter Elizabeth!

“I looked quickly at Glenn, who was
grinning from ear to ear. Then I looked
back at Elizabeth. By this time she had
shaken the sand out of her hair and was
back on her feet again. Later she told me,
in a scandalized voice, ‘Imagine a famous
football star seeing all of us amateurs
playing touch football! And me playing for
the first time. I couldn’t have been more
clumsy!’

“But, at the time, after I’d called to her,
she stopped the game long enough to run
up to the porch, meet Glenn, and then
say quickly, ‘Dibs on you for my side!’
A second later, he, too, was playing touch
football with the gang. Afterwards, Eliza-
beth said breathlessly, ‘Did you see how
wonderful he was? He never once
tried to crash through the game as he
could so easily have done. He’s a good
sport.’

“Aware that my sixteen-year-old daugh-
ter had fallen in love for the first time, I
asked her father, ‘Don’t you like Glenn?’

“ ‘He’s a fine boy,’ he agreed, but the
following Sunday, when we all saw Glenn
again, it was my husband who (just like
a man!) inadvertently put his foot in
it.

“The week between had gone quickly,
with Elizabeth busy every day acting in
‘Little Women.’ On Sunday, the same
swarm of young people arrived, and again
they played touch football.

“Finally, it was supper time. Glenn and
Elizabeth came to me just before supper
was served. Romance was written all over
them, but Elizabeth only said, ‘Glenn and

Love and a Girl Named Liz

1 will go for the ice cream tonight, Mother.’
She might just as well have said, ‘Glenn
and I want to get off by ourselves.’ I
understood, and agreed at once, but not
so my dense husband! He said, ‘Oh, don’t
you bother, I’ll get the ice cream.’

“ ‘No, Daddy,’ said Elizabeth. ‘We’ll get
it.’

“Her father shrugged and said very well,
but wait until he got the money to pay
for the ice cream.

“ ‘You don’t have to do that, Mr. Taylor,’
said Glenn. ‘Ill pay for it.’

“Now, to my husband, those were fight-
ing words. No guest in his house ever pays
for anything. Turning a bright red with
rage, he drew himself up and roared, ‘If I
can’t pay for it this way, I’ll get it myself!’

“Finally, all was serene, and off the two
young people went for the ice cream. After
waiting for almost an hour, we gave up
expecting them back and ate dinner. It
was a full hour and a half before the two
of them appeared, with the melted ice
cream dripping out of the bottom of the
container!

“Someone yelled, ‘We’ll have to drink the
ice cream!’ Then, with everyone laugh-
ing at Glenn’s and Elizabeth’s foolish ex-
pressions, they burst into spontaneous
and kidding applause!

“From then on, Glenn was down at our
beach house every minute that Elizabeth
was there. Elizabeth went to watch
Glenn play football in the Intersquad
Game, and she joined the rest of the
grandstand in yelling, ‘We want Davis!
We want Davis!’ Then she topped them,
shouting, ‘I want Davis! And don’t think
I didn’t mean it,’ she told me later.

“But, finally, it was the end of August,
and Glenn had to leave for Korea. Only
one thing cheered Elizabeth up. The last
night they were out together, he gave her
his gold football.

“Letters came in bunches from Korea for
her, and she spent half her time hanging
over her desk writing in return.

“The three-and-a-half months we were
in England, where Elizabeth made ‘Con-
spirator’ with Bob Taylor, were spent
working hard. But by letter, Glenn and
Elizabeth went on with their romantic
planning.

“All of which proves,” Mrs. Taylor con-
! eluded, “that my daughter’s movie career
has given her no degree of sophistication
that makes her different from other girls
her age. When she falls in love she is very
serious about it, convinced no one ever
knew a similar emotion before and never
will again.”

It was fortunate, undoubtedly, that
Elizabeth and Glen i Davis were separated
| by his stretch in Korea. Otherwise they
might have plunged into a hasty marriage.
For when they met again upon Elizabeth’s
return from England — when the Army un-
expectedly sent Glenn back to this country
| — it was not the same.

They liked each other well enough. They
spent much time together — swimming, rid-
ing, walking and talking. But the magic
was less. Otherwise they never would have
agreed, as they did, to wait three years to
be officially engaged and to have other
dates.

Whereupon, of course, things began to
happen. All the young Romeos we listed
in the beginning of this story began plead-
ing for dates. And Elizabeth found she
bn joyed going out with them. Not that
Glenn still isn’t important in her life. He
is. But no longer is he the one and only.

As you read this Elizabeth will be in
Italy, making “Quo Vadis.” It will be win-
ter before she returns. In the intervening
months no one can tell what will happen.
Dnly one thing is sure. Elizabeth, true to
her years, will fall in love again.

The End

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Jenny and Miss Jones

( Continued, from page 45) former film
commented, “As an actress, Jennifer knows
all the things she doesn’t know as an in-
dividual.”

I’ll never forget a routine color test she
did for “Duel in the Sun.” It was the
first time we had met. Jennifer came on
the stage wearing a simple cotton dress and
Hat heeled shoes, her hair hanging girlishly
down her back. I thought her lovely and
unusual-looking, but when the director
gave the down-beat, the girl in the flat
heels and cotton dress disappeared. In her
stead, there was a sexy creature who
looked out of the side of her eyes and
walked with a stealthy glide.

She takes criticism eagerly. During re-
hearsals for “Serena Blandish,” in which
she starred at La Jolla last summer, Jen-
nifer was always inviting criticism with,
“Could you hear me?” “Did I do it right?”’
“Does that line sound correct to you?”

At a party, she is usually a quiet and
interested listener, and in her charming
home, she is a wonderfully solicitous
hostess. She’s happiest, actually, when she
is serving other people, looking after their
comfort, taking the emphasis off herself.

WHEN she’s happy, Jennifer is the great-
est “Patsy” for jokes. On the “We Were
Strangers” set, one gag started rolling dur-
ing a very grim scene in which Jennifer
and other Cuban Revolutionists are tun-
neling underneath a cemetery to blow up
some politicos who are supposed to attend
a funeral. John Huston padded a rubber
glove, had it painted green, and placed it
where Jennifer was to dig. When she dug
up the gangrenous hand, Jennifer ran off
the set, screaming.

To even the score, with the aid of John
Garfield, Jennifer got a skeleton from the
prop department and put a replica of John’s
old battered felt hat upon its head. Then
she had it rigged up with wires so it could
be operated from twenty feet away like a
puppet, and a bellows to make it smoke a
cigar. During the lunch hour, they set it
at Huston’s desk. When he walked in, the
skeleton, puffing away, greeted him with
a booming “Hello John.”

All who have worked with her, directors
and stars alike, take our hats off to Jen-
nifer for her capacity for hard work.
She’s a girl, too, with tremendous cour-
age. This she demonstrated by doing a de-
manding role like “Serena Blandish.” She
knew this was our most ambitious pro-
duction of the season, that we were shoot-
ing the works financially and that she
would be in the company of an all-star
cast, that included such veterans as Con-
stance Collier, Reginald Owen, and Sig
Ruman, as well as Louis Jourdan and
others. The company rehearsed on the
lawn at her home and whenever she wasn’t ;
“on stage,” you’d find Jennifer, in her
blue jeans and shirt, over in a corner of
the yard, batting her lines back and forth
with somebody.

With no legitimate stage experience,
Jennifer was really on the spot. She faced
a very critical audience, who had the nat-
ural attitude of, “Let’s see what the girl can
do.” Jennifer’s sensitiveness and shyness
made her job twice as hard. Yet on open-
ing night, with the rest of the cast nervous,
the crew nervous, and even the audience
nervous, she remained calm. It was as
though she had just gritted her teeth and
made up her mind she’d do an extremely !
professional job — and she did, too.

A little later, escaping as soon as she
could from all the embarrassing congratu-
lations, she slipped out of her original
Mainbocher model, to hostess a party on
the beach. This to me is Jennifer Jones.

The End

Lady with a Past

(Continued from page 47) I don’t know
what the furnishings were like, except
that they were all pretty broken-down
and shabby. I never thought then of wak-
ing up in a beautiful, luxurious, pink and
white bedroom, with the sun streaming
through huge windows.

I dashed into my shower, knowing there
wasn’t going to be someone pounding on
the door for me to hurry, so another girl
could have her turn, as there always was
at the American Woman’s Club, back in
New York, when I was just hoping, while
I practically starved.

I thought about the fun we’d had last
night in the Mayfair Room of the Beverly-
Wilshire Hotel. But during the evening, I
found myself thinking of the enormous
suite somewhere over our heads, where
I’d spent one day, my first day in Holly-
wood. After I’d signed with M-G-M in
New York, I was given money for a trip
to Hollywood. I was told they’d expect me
there in a few days. So I rushed home,
packed, and took off. Well, it’s one of the
few times I’ve been early anywhere. I’d
read about movie players always getting
off at Pasadena, so I did, too. Much to my
surprise, no one met me.

I CONFERRED with a taxi-driver, told
him I was under contract to M-G-M and
asked him to recommend a hotel. I guess
he thought that only very successful movie
people get off at Pasadena, because he
drove miles and miles and miles and de-
posited me at the Beverly- Wilshire Hotel,
one of the most expensive out here. After
I registered, I explained to the desk clerk
that I needed to call M-G-M right away.
I did! That taxi ride had cost me every
cent I had left in the world! But the desk
clerk didn't know that! The young lady
who sat down in a room of the suite he
assigned her, was a shivering predecessor
of the Mrs. Richard Powell at a ringside
table last night!

This morning, as usual, as soon as I fin-
ished my shower, I grabbed the house
phone and ordered my breakfast. Richard
groaned as he listened to me say, “Orange
juice, two eggs Benedict with lots and lots
of Hollandaise sauce. French toast. . . .”

Time was when breakfast for me was
just a cup of coffee, and maybe a roll!
Coffee was all I could afford the morning
I signed my contract with M-G-M.

The memory reminded me that I had just
received my two weeks allowance of $25.00.
I’ve never gotten over saving every extra
dime for a rainy day, so I took $10.00 of
it over to my fat, capacious bank. Opening
it, I counted how much I have in it. Over
$500! But any would-be burglar won’t find
such a cash-haul in our house. Richard’s
always breaking into it and leaving IOU’s.
At the moment, the IOU’s total all but the
ten dollars I put in this morning. Even
that will probably be a Richard Powell
autograph by the time I get home!

Before we had our breakfast, Richard
and I went in to our daughter, Pamela.
When she saw us, she said, “Hi!” Then she
pulled herself right up on her feet! I almost
screamed, “Richard, I’m frightened! I’m
afraid she’s going to be a genius!” Richard
laughed, but I went on, “But Richard, she
is! Why, I didn’t walk until I was a year-
and-a-half old and I was even older be-
fore I started to talk!” I won’t repeat his
comments. I just picked her up and put a
grown-up dress on her. The nicest little
blue dress with collar, cuffs and sash, just

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the right thing for a young lady’s walk.
Reluctantly, I then turned her over to her
nurse for her mid-morning feeding and
Richard and I went downstairs.

At the breakfast table, we each picked
up our morning paper and started to read,
but I was bursting with plans. I said, “Oh,
I do hope you won’t be working when I’m
off this summer. I’m dying to spend a few
weeks in Santa Barbara.”

“It’s a great idea!” he answered.

Great? It’s wonderful. I’ll never forget
my first vacation when I was twelve years
old. It was summer, and Westchester was
at its hottest and stickiest and I was sent
to a camp for underprivileged kids for
two weeks. It should have been glorious
for me to be up in the Catskills. It was
for the others, but I hated it. I was afraid
to dress or undress in the light, for fear
the others would see the awful brace I
had to wear. I couldn’t hike, swim or do
anything else the rest of the campers did.
About all I could do was weave with
colored string until I thought I was being
strung on a rack myself! I wanted to go
home so badly! And what kind of home?
Well, you know pretty well what it was
like, if I was sent to that camp.

Richard interrupted my thoughts by
saying, “I think after this, you’d better
order orange juice and coffee for my
breakfast. I’ll be getting fat as a pig.”

"I took the famous taste-test . . . compared the three
leading colas and one was outstanding for finer flavor.
That was Royal Crown Cola !

“RC tastes best!"

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Enjoy this finer cola yourself. Keep a supply on ice
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«H!” I snorted, smearing butter on my
French toast, “I tried that. What hap-
pened? You ate half of my breakfast! I
have to eat a lot when I’m working. I
can’t break my routine for just a day off.”

“A day off?” he said. “Look at the time.
You're due at the studio for a portrait
sitting in ten minutes. You can’t go on
being late everywhere.”

As I got into my shiny, dark gray Cadil-
lac, I looked around at our house in Bel-
Air and remembered the time I’d just
sort of stuck my nose through the Sunset
gate and exclaimed, “Golly, people must
be awfully rich to live there!”

Exultantly, this morning, I put my foot
down heavily on the accelerator, revelling
in the rush of speed. “I’ll bet I could make
it to the studio in five minutes,” I was
bragging to myself, then I heard a
“r-r-r-r-r.” I pulled quickly over to the
curb and very meekly said to the man in
the blue cap, “Yes, sir!”

After that, I proceeded cautiously, with
my ticket, to the studio and arrived a
whole hour late! What a rush! How they
whisked me right through the gates.
Everybody was waiting! Why is it I can
always be on time for production calls, yet
never quite make it for anything else?

Sometimes, I suspect that subconscious-
ly, I like to have everyone rush me into
M-G-M and give me their immediate
attention. If so, that’s a carry-over from
the first time I telephoned the studio from
that suite at the Beverly-Wilshire and
said desperately, “This is June Allyson.
Who. ...” I was switched from person
to person but they had never heard of
me. I got scareder and madder and
scareder and madder. I didn’t know then
how complicated a big motion picture
studio is. After seeming to get nowhere, I
set out for the studio itself, determined to
knock down the first person who inter-
fered with my entry. I got into the recep-
tion room of the administration building
and asked to see Arthur Freed, who was
to produce the picture for which I thought
I’d been signed. Mr. Freed was not avail-
able at the moment. Three hours later, I
met him. He explained the mix-up, then he
said, “We’re glad to have you with us.
We’ll go to work soon.”

A year filled with lessons later, I went
to work. Work? One picture right after
another with scarcely a day’s vacation

thrown in. I was up before dawn and into
bed, exhausted, immediately after dinner.
Even on a day off, there was art and
publicity to crowd in. Like today.

The photographs shot, I rushed, late
again, to the commissary for an interview.
Both the writer and Dotty Blanchard from
our publicity department had finished
their lunch. I picked up the menu and
said with horror, “Since when have you
raised the price of lamb chops from $1.65
to $2.00?”

Dotty said gently, “June, the studio pays
for your lunch today, remember?”

“Oh,” I exclaimed. “In that case, I’ll have
a minute steak, creamed spinach, salad and
coffee.”

THEN, talking to the interviewer, my
mind flashed back to the very first time
I tried to get a job and was asked questions.

“Where’s your music?” the stage man-
ager asked.

“Oh, I don’t need any music,” I gulped.
“I can do it without music.”

I was in a spot. That morning, the kids
at school had handed me an advertisement
of chorus girls wanted. For weeks, I’d been
going to see Fred Astaire and Ginger
Rogers in “The Gay Divorcee.” I’d seen
it seventeen times and went around brag-
ging, “I can dance better than Ginger
Rogers!” The kids had every right to
challenge me to prove it. I just couldn’t
not try. I’d never have lived it down.

Without my music, I did my act for that
interview. It certainly wasn’t my dancing
which won the job that day. I guess I was
just such a character amongst all those
suave, sophisticated, talented applicants,
that I got a break. Not as a chorus girl, but
in a little feature spot.

The interviewer brought me back to the
present by asking me if I enjoyed going
to big premieres. I answered, “Of course,
but I can’t wait until I go to my own.
You know, a premiere where I’m the star.”

It’s one of those dreams of mine which
still hasn’t come true. I remembered how,
when Van Johnson and I were going
around together in New York, bolstering
up our belief in ourselves, and predicting
someday we’d be movie stars, we made a
pact that we’d go to our first premieres
together. I’ve already gone with Van to
his, the one for “Thirty Seconds over
Tokyo.”

After the interviewer left, I said wist-
fully to Dotty, “Do you suppose I’ll ever
have a premiere?”

“Of course you will, honey,” she an-
swered.

My mind was already reeling recklessly
ahead and I interrupted her, “But I can’t
take Van to it. After all, we’re both mar-
ried now.”

“Well,” she laughed, “I don’t imagine
either of you want to leave Evie or Rich-
ard behind. But what’s the matter with
all four of you going together. Look, if you
have time, let’s go over some story ideas.”

“Time!” I looked at my watch. “My
gosh! I was due at Bunny and Johnny
Greene’s luncheon a half-hour ago! I’ve
got to fly!” Running toward my car, I
thought, Well, Richard isn’t flying. He’s at
the , Greenes’, holding up the family honor.
Let’s see, tennis with Richard at four. The
Goetz party tonight. Bet it’ll be fun. Every-
one I know will be there.

I’ll walk in on the arm of my husband,
who’s so much taller and broader, and
whose eyes are so much more vivid a
blue than they seemed on the screen, when
I used to sit in a cheap movie house watch-
ing him and dreaming.

I know there are plenty of kids dream-
! ing right now as I dreamed then. Plenty
of them will find their dreams come true
someday, too. To those I say, “Come on
in, the water’s fine. I couldn’t be happier.”
The End

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Carlyle Blaekwell
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photographers

DilOtODlai]

JANE WYMAN, star of Warner’s “A
Kiss in the Dark,” wears, below,
the original Milo Anderson dress
from that movie. Right, Miss Wyman
models the reproduction of this dress
which was made especially for Photo-
play by Jonathan Logan. Smart,
wearable and utterly charming, this
dress and jacket can be had in either
cool chambray or crisp pique. Also
in pink, lavender or blue. Sizes 9-15.
$14.95 at Best & Co., New York, N. Y.;
Kaufmann’s, Pittsburgh, Pa.; The
Denver Dry Goods Co., Denver, Colo.

asluons

For store nearest you write direct to manufacturer listed on page 87

the nicest fashions to come along is the bare-topped
dress with its companion jacket. This fashion is not limited to one
or two occasions but can be worn smartly for town and business
and will look equally right without the jacket at the country club
or beach. Your use of accessories will be important in this change
of mood. Dark pumps, gloves and a big straw hat for town. For the
country, without the jacket, wear bright summer jewelry and straw
accessories. For evening, wear your prettiest pearls (they look even
more wonderful with a sun-tan), pin a flower at your waist, and
dance the night away in high-heeled nude sandals. If it’s smartness
plus serviceability you’re looking for — the jacket dress is your answer.

Charming Jane Wyatt’s newest pictures
are Allied Artists’ “Bad Boy” and
Warners’ “Task Force”

Smart and trim is this Gladdy Colleen
town or country dress in Galey &
Lord’s plaid gingham. The big
square pockets add a fresh fashion
note. Sizes 10-18. $16.95 at The
J. L. Hudson Co., Detroit, Mich.;

Stewart Dry Goods, Louisville, Ky.

For store nearest you write direct to manufacturer listed on page 87

t Ine

A broadcloth dress that will really do things for the “figger”
by McArthur Ltd. Hie top is elasticized, no side opening, and
gives a bra effect. For town, wear the little jacket. Comes in all
colors. Sizes 10-18 or 9-15. $10.95 at J. N. Adam & Co.,
Buffalo, N. Y.; The Hecht Company, Washington, D. C.

Vr- V

photoplay's pattern of the month

City..

..State..

Diana Lynn’s dress designed by Edith Head
for Paramount’s “Bitter Victory”

This is a dress you’ll want to wear everywhere, all sum-
mer long. The lines are slimming, the silhouette new,
yet it’s so simple to make. Lengthen your pattern and
make an evening dress, too. Korde, an embroidered
eyelet by Samuel Ehrman Co., is washable and comes
in heavenly colors. For daytime, plan a dark eyelet with
a bright slip ; for dancing, try pastel-colored eyelet over
a darker-toned slip.

Photoplay Patterns
205 East 42nd Street,

New York 17, New York

Enclosed find thirty-five cents ($.35) for which please
send me the Photoplay Pattern of the Diana Lynn
"Bitter Victory” dress in sire 12 — 14 — 16 — 18 — 20.

Name Size..

For Stores selling Photoplay Patterns see page 87

Spring Shower

( Continued, from page 56) that a swim was
the next thing in the order of events, and
Jane’s new swimming pool was soon filled
with mermaids.

Just as everyone had settled down to
talk, Geary innocently popped in to see
his fiancee and was mobbed! They made
him give honest opinions on all of their
questions and pinned him down for the
truth about what men realty think about
women! To make them pay for his wis-
dom, he insisted on a “balancing peas on
a knife” game, which none of them had
done since they were children! Then they
blindfolded Geary, and made him find
Jariie. After that he jtist plain escaped, and
didn't come back until there wasn’t a
single car in front of the house.

Playing some of Janie’s collection of five
thousand records practically turned the
gathering into a “platter party.” Janie has
everything from jive to opera. She also
proudly displayed a huge album of auto-
graphed pictures of movie celebrities. And
she has them all.

I[OW for the recipes. Janet’s recipe for
J! the jellied avocado and cottage cheese
salad is simple. She made it in a heart
shape and surrounded it with tomatoes
filled with tuna salad and asparagus
spears. For the molded salad: Dissolve
3 packages of lime-flavored gelatin in 5
cups hot water. Pour gelatin 1 inch
deep in the 10- cup mold and chill until
firm. Next, mix 2 cups of sieved cottage
cheese with 2 cups of mashed avocado
(seasoned with a little salt) and beat with
2 cups of the lukewarm lime gelatin. Pour
over first layer in mold and chill until
firm. Then top with the remaining lime-
flavored gelatin and chill until ready to
unmold. The tomatoes around the heart-
shaped salad were stuffed with a combina-
tion of flaked tuna (1 large can) , 6 mashed
hard-boiled eggs, 1 cup diced celery and
1 cup mayonnaise, salt and pepper. As-
paragus spears were slipped through lemon
rings and put alternately between the
stuffed tomatoes, surrounded with chicory
lettuce for decoration. A very pretty dish.

The tiny sandwiches which were brought
by Amanda Drake were made of rounds of
bread, on each of which was placed a
medium thick slice of cucumber decorated
with various colors of cream cheese forced
through a pastry tube.

For the stuffed celery, Angela used a
prepared roquefort cheese spread. She put
it in a pastry bag and pressed along the
hollow of celery spears. You can do the
same with any prepared cheese spread.

Angela’s deviled eggs were made by
mashing the hard-boiled yolks with
enough mayonnaise to soften, and adding
dry mustard and salt to taste. On this
same plate, for color as well as for taste,
were liverwurst strawberries! To make
these, take one pound of liverwurst, put
through a sieve and add 2 tablespoons
onion juice. Shape into strawberries, roll
in paprika and put a tiny sprig of parsley
in the stem for decoration.

The desserts were dreamed up and de-
signed by Ann Miller. She purchased the
Petits Fours at a bakery. But the ice
cream delight she made herself. And this
is how she did it. She scooped out half
grapefruits and notched the top edges of
the skin. These she filled with strawberry
ice cream and placed a candy cane in the
center of each so it ran through the grape-
fruit to make the umbrella handle. She
froze them very hard in the frozen food
compartment of her refrigerator. Then she
tied the bows on the crooks of the candy
cane handles just before serving.

The End

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Cyd Charisse is lithe and lovely in M-G-M’s
“Words and Music.” A crisp, full-skirted
dress by Betty Barclay in Fuller
taffeton. The little bound bolero and flatter-
ing tucked bodice make this a two-some
worth having. In green, brown or
navy. Sizes 9-15. $8.95 at
Franklin Simon, New York, N. Y.,
John Wanamaker, Philadelphia, Pa.

Pearls by Deltah. Straw braid hat with
satin ribbon trim by Brewster.
Straw bag with cotton print lining by Garay.
Shortie cotton gloves by Wear-Right

For store nearest you write direct
to manufacturer listed on page 87

designer of Diana Lynn’s dress in “Bitter Victory”

MISS HEAD designs the kind of dresses we all love because
they’re so easy to wear and so flattering. She’s a great believer,
too, in fashion tricks that add zest and a new look to an outfit and
she reports on some of the stars’ favorite “wardrobe pickups.”

Diana Lynn adds crisp, lacy collar and cuff sets or a brief pique
vest to a simple dress for a fresh style trick. She has several
wide belts of starched white lace and embroidered organdy belts
which she wears with deep-toned afternoon frocks and new sum-
mer linens.

Gail Russell made a pair of white pockets in embroidered pique.
She sewed them to a narrow scarlet band and then tied the band
around the waist of a scarlet linen dress. She also has a soft blue
pique peplum and a pair of matching gloves which she wears with
a navy linen dress.

Mona Freeman and her baby daughter sport starched lace sus-
penders over their cotton frocks and Wanda Hendrix wears tiny
shoulder capes (they’re really king-size collars) with her strapless
evening gowns. You’ll notice that all of these “fashion frosting”
tricks are young, fresh and washable.

As Edith Head stresses again and again, if there’s one thing the
average Miss America needs, it’s a wardrobe that’s adaptable to
changes — clothes that a girl can stretch with accessories, jewelry,
and scarves.

wherever you live you can buy

photoplay fashions

If the preceding pages do not list stores in your vicinity where Photoplay Fashions are sold
please write to the manufacturers listed below.

Yellow strapless dress with jacket Jonathan Logan, 1375 Broadway, New York . N. Y.
Plaid gingham dress Gladdy Colleen, 1400 Broadway, New York, N. Y.

Elasticized dress with jacket McArthur, Ltd., 1372 Broadway, New York, N. Y.
Taffeton dress with bolero Betty Barclay, 1350 Broadway, New York, N. Y.

Pearls L. Heller & Son, 411 Fifth A ve., New York, TV. Y.

Straw hat Brewster, 411 Fifth Ave., New York, N. Y.

Straw bag Garay & Co., 33 East 33rd St., New York, N. Y.

Gloves Wear-Right, 244 Madison Ave., New York, N. Y.

stores selling photoplay patterns

Lit Brothers, Philadelphia, Pa.

The Hecht Company, Washington, D. C.

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(Continued from page 61) She loves to
watch a bullfight.

She rarely dreams, sleeps at wifi like a
baby, and considers “Neptune’s Daughter”
her best picture. She has never worn
dental braces.

She uses light perfumes and is spe-
cially fond of Mexican food.

Esther Williams was bom in the living
room of a little frame house in Inglewood,
California, in which her parents still live.
She has never smoked.

She loves to eat and serve good food
and, as a consequence, the grocery bill is
her greatest extravagance. She has a pas-
sion for painting furniture.

SHE wears a charm bracelet, given to her
by her husband, which commemorates
every picture in which she has appeared
and on it is engraved: To D.B.G.F.D.B.B.,
which is the code for “To Darling Baby
Girl From Darling Baby Boy.”

She is a nut on growing ivy and Philo-
dendron all over thq house — in beer mugs,
spittoons, iron pots, anything. Her husband
is daily waiting to see something sprout
out of his pipe rack.

She flunked in mathematics.

She hates to eat alone.

She never uses a typewriter, weighs 125
pounds, and her characteristic way of
loafing is to go for a swim or bake a cake
or clean up the yard, or just keep busy.

She can never remember the license
number of her car.

Her baby is scheduled to arrive in Aug-
ust but she hopes it will be bom on
August 8th, her birthday. She never gets
seasick and has ho desire to go hunting
because she cannot abide the thought of
killing anything; indeed, when she goes
fishing die always throws the fish back.
She is not superstitious.

She has never plucked her eyebrows, is
not given to “moods,” and enjoys penny
ante poker. She is proudest of having
won the Women’s Outdoor National, 100-
meter free-style, in 1939.

She wears cotton nightgowns.

She declares her most embarrassing
moment was when she was engaged as
star of Billy Rose’s Aquacade, and before
a gallery of girl swimmers, demonstrated
her ability. When she finished, he loudly
observed, “That was very fast, Miss Wil-
liams, but not very pretty.”

She doesn’t like cats.

She is slow to criticize and has had
nearly all of the usual children’s diseases.
Her parents came from Dodge City, Kan-
sas, where her mother taught school.

She is right-handed and cannot stand
clothes that confine her movements.

She never drinks beer.

Her hair is brown and her pretty face
belies an indomitable will to excel in any-
thing she undertakes. She wears small
earrings and dislikes Limburger and Gor-
gonzola. She is five feet seven inches tall.

Her eyes are hazel, the whitfes almost
blue. She participates with enthusiasm
and intelligence in any kind of argument
or discussion on history, politics or phi-
losophy.

She is a good cook, dotes on making
salads, and does not believe in matrimonial
vacations. “Positively not!”

She is addicted to midnight snacks and
her greatest disappointment was the can-
cellation of the 1940 Olympics, which was
her only opportunity to compete in the
international contests.

She is planning an Early American
house; when she instructed the architect
to include a slide from the upstairs bed-
room to the swimming pool, he replied,
“How can I do that in Early American?”
Her mother is now a practising psy-

the perfect fit — that lasts and lasts!

chologist. She has no faith in fortune
tellers but she goes to them for amuse-
ment.

She doesn’t play bridge.

She was fired from her first job as a
model, because she “didn’t have a good
figure.” She recently met the man who
fired her and he offered her his right arm
if she would model bathing suits for him.

She is an expert horsewoman, is very
intuitive and requires eight to nine hours
of sleep. She painted and papered her
bedroom with Tony Sarg wallpaper, leav-
ing the trademark visible so that “every-
body would see it was expensive.”

She wears a light pancake make-up and
lipstick for street and she has two broth-
ers and two sisters, all born in Salt Lake
City. She made her “debut” in a first
grade operetta as a “rose” and another
member of the cast was a little girl called
Deanna Durbin.

She is a good conversationalist, very fond
of Roquefort cheese, and wishes her hus-
band “was a better salesman of some of
the songs he writes.”

She listens to all commentators with
the desire to know every side and if her
first-born is a boy, he will be named
Stanton Benjamin, after her oldest brother
who died at sixteen; but if it’s a girl she
will name her Tenny, simply because she
likes its sound.

She has an incurable weakness for an-
tique and junk shops.

She seldom wears hats and when she
does they are always small. Her distaste
for cigars has induced husband Ben to
give them up until, at least, the baby
comes.

SHE doesn’t like birds in cages and opines
that “modem time-saving devices have
left little time for individual happiness.”
She uses no mascara.

She likes flying and as a little girl she
knew almost nothing of dolls and fairy
tales because she was essentially a tom-
boy. She would like one day to own a
small boat. She is flexible, impulsive, and
likes her coffee black.

She has no temper or temperament.
She has never been in Europe and
thinks the house she was bom in the
loveliest she has ever seen. She invariably
eats a hefty lunch of meat and vegetables.

She has burst her eardrums four times
due to swimming and has a bad sinus
condition which increases the pressure.
She eats very little bread.

She plays no tennis, likes wearing
flowers and ribbons in her hair, and she
studied both dancing and singing so that
she could match steps with Gene Kelly and
harmony with Frank Sinatra in “Take Me
Out to the Ball Game.”

She has no patience with detail and has
adopted a French war orphan, an eleven-
year-old girl, . providing a monthly sum
stipulated by the Foster Parents Plan.
Her Fan Club members send this child
presents instead of sending them to Esther.

She loves the comics, learns dialogue
easily and between pictures gives two
swimming lessons a week to handicapped
children. She is excellent in spelling.

She seldom wears high heels.

She prefers small intimate parties and
her mother once said to her, “Never be
afraid of anything. You can do it because
it’s not your strength or talent, but some-
thing stronger than you. If you’re ever
afraid of anything, just remember that
you don’t have to do it alone. If you be-
lieve, it will be done for you.” Esther
Williams learned that lesson early and it
has become the theme of her life.

She loves to cook but she never puts
things back where they belong and con-
sequently, when she has finished, the
kitchen “looks as if a cyclone had hit it.”
She has an uncomplicated mind, is at

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ease in any group, and with her mother’s
assistance, has studied all religions. She
has never changed the color of her hair.
She doesn’t like champagne.

She is a good story-teller, generally wins
her two-dollar hunch bets at horse races,
and thinks modernistic homes and furni-
ture “lacking in warmth.”

She doesn’t like banana splits.

She has an excellent memory for names,
rises late when not working and has a
marked case of claustrophobia, constantly
opening doors and windows.

She buys inexpensive clothes, adds her
own touch with knick-knacks and thus
gives them “an expensive look.” Her fa-
ther is of Welsh-Scotch-Irish extraction,
her mother of Dutch-English.

She has a huge collection of sweaters.
She subscribes to the Book of the Month
Club and doesn’t think money too impor-
tant to happiness, remembering her own
happy childhood in a family of very mod-
est circumstances.

She is broad-minded, entertains no re-
grets, and her earnings are carefully in-
vested in real estate, a filling station, and
annuities for herself and parents. She
used to eat very little candy but the com-
ing baby has increased her desire for it.

She likes Ping-pong, bright colored
clothes and the story about the traffic cop
who caught her doing thirty-five in a
twenty-five-mile zone. He suddenly looked
up with an expression of recognition, “Oh,
I know who you are. I certainly enjoy
your pictures.” She smiled in gratitude,
and as he let her go, he said, “It’s a pleas-
ure to have met you, Miss Leslie.”

She never diets.

She owns a 'toy brown-and-white cock-
er spaniel, reads an average of one book
a week and all the current magazines.
She is hypersensitive to people and situa-
tions and now possesses a little aquarium
presented her by Eddie Buzzell, director
of “Neptune’s Daughter.”

She doesn’t like “visiting” on the tele-
phone but conducts most of her business
that way. She enjoys all kinds of movies,
and eagerly anticipates “The Duchess of
Idaho,’” for which she will learn to ski.
She likes her steaks rare.

She will take up golf one day so as to
keep up with her husband’s game. She
still clings to the first doll she ever had,
but it has been to the doll hospital many
times due to the beating this tomboy gave
it. She seldom indulges in dessert, and
she goes walking at seven in the moning.

She and Ben, married nearly four years,
work at their marriage, never take it for
granted.

Esther Williams gracefully symbolizes
The AU-American Girl.

The End

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(Continued from page 63) has not been
destroyed and that the future is neither
loveless nor uncertain.

The manner in which Brian is doing this
is both smart and simple. However, while
he has spared no expense to give his
daughter a sense of “belonging,” any
mother or father can accomplish the same
thing with much less money and the same
imagination. An old piece of family fur-
niture placed in a child’s room, supple-
mented with stories of those who had
used it through the years, would serve
well.

BUT to get back to Brian. In his lovely
Malibu house, he has combined the
past, by way of the most treasured an-
tiques, with the future.

And Judy’s “future” is a suite of rooms
which will be hers when she gets to be
sixteen. It lies down the length of the
upstairs hall from her “present” suite.
The small apartment in which she lives
now is plainly perfect for a nursery-
rhyme princess. Around the top of her
present “sitting room” runs a frieze of
dolls. The high chair, which was once
hers, is now occupied by a teddy bear.
The desk and all the tables are scaled
down to junior height and are broad and
“kid” proof for all play activities. To com-
pletely delight her soul, there is a knocker
on the door which leads to her bedroom
and never once has her daddy come
through that door without first knocking
for her permission. Her bedroom is full of
a froth of organdy ruffles, at the windows,
and on her bed. There’s an open fireplace
for those chilly by-the-sea days with a
low table before it, where she often
shares her meals with her devoted nurse.

But her future room is a dream beckon-
ing. Every single item in it, from the
priceless Delft tiles around the fireplace
to the tiniest figurines in the wall cabinets,
is a collector’s item. The great four-poster
bed, magnificently carved, is the sort any
museum would covet. The marble-topped
bedside tables of richest mahogany, the
Chippendale mahogany occasional chairs,
the perfect Victorian settle against the
windows that face the Pacific, as well as
the smaller settle at the foot of the bed,
are all expressions of love.

Aside from developing Judy’s taste for
fine furniture, fabrics and colors at a
very early age, Brian points out to her that
these things, brought down to the present
from the past, were loved and cherished
or else they would not have survived. The
scatter rugs on the highly polished floor
are the finest examples of braided New
England rag rugs. The prism crystal lamps
tm the bedside tables were probably the
proudest possessions of the lady who
originally owned them, some hundred
and fifty years ago. There is even a story
attached to the candlewick bedspreads on
the four-posters.

Brian saw one of them several years
ago in a New England antique shop and
quickly bought it. When Brian first started
fixing up this room for Judy, he planned to
use it as the bed covering and to have or-
gandy, with organdy ruffles put on the
canopy. Then, suddenly the idea of put-
ting a duplicate candlewick up there, in-
stead, came to him. He had a nearly im-
possible task, finding a double of what
was originally a very rare item. It took him
months, and he won’t admit how much
money, but he finally did discover it.

You see, once more, don’t you, what

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uncertain small girl?

Brian also gave Judy’s room a com-
bination of modern comfort and antique
loveliness. This he achieved particularly
in the pair of deep wing chairs, covered
in light blue raw silk, that made a “con-
versation grouping” against the wall that
faces Judy’s “big girl” bed. The wall be-
hind it is of rubbed-down wood paneling,
painted in the softest yellow, sprinkled
with painted nosegays of pink, yellow and
lavender flowers, and in the center of it
hangs an exquisite portrait of Judy as
she is now. The octagonal mahogany table
between the wing chairs goes back to
Governor Bradford’s time. Its deep brown
patina, in contrast to the blue chairs, the
pastel wall, and the plum covered sofa
at the foot of the white covered bed, is a
lesson in color blending, which Judy prob-
ably doesn’t even know she is absorbing.

SHE probably doesn’t realize, either, that
she is being influenced into the idea
that books are fine possessions. But she is,
by way of an outstanding break-front
bookcase in her debutante room, which
now holds a few of her father’s favorite
books and a couple of hers. But she knows
this is “to grow on.”

Everything in the room, naturally, is on
an adult scale and the one rule of the
house is that Judy may visit her “future”
whenever she desires, but she must not
play in there. Her present sitting room,
the fenced-in stretch of beach before the
house and the downstairs living room is
hers for play room.

The piece of furniture in the living
room which is his real pride and joy is
a Welsh dresser which he picked up quite
cheaply at an auction, simply because it
was too big for an average room. He has
decorated * that dresser with pewter plates
and candlesticks, together with a pair of
antique spice jars.

However, Brian has no such slavish
devotion to antiques that he excludes com-
fort. In the downstairs room, there are
big soft modern, chintz-covered couches,
pulled up before the huge stone fireplace,
and fat squashy chairs here and there. But
on the couch or in the chairs, wherever
there is one pillow, there’s a mate to it.
One is embroidered “Brian,” the other is
embroidered “Judy.”

Brian apparently isn’t even aware of one
outstanding feature about his house, but
i any woman would notice it, and be a little
i touched by it. The simplest room in it is
i his own bedroom. It’s very masculine, no
dressing room, no fussiness about it. The
bed is a beautifully carved antique. The
bedside tables have the lights adjusted for
' reading the piles of books, lying alongside.

There are a couple of comfortable chairs,

: but that’s all. No suite, such as Judy has.
No beautiful elegance.

Brian doesn’t think he’s spoiling Judy
with all this attention so long as it gives
j her a sense of the continuity of social
living, of the generations overlapping one
5 another, of friends on various age levels.
He says, “I don’t believe that children

!are spoiled by love or that there can be
too much love given to them. I buy Judy
more dresses than she wears, more toys
than she needs, certainly, but she seems
to know that when I see a pretty dress or
something, I have to buy it, just because
it reminds me of her. This way, picking up
things for her ‘young girl’ room has been
my greatest happiness. None of this makes
her a naughty girl. She’s obedient because
she wants to please me.”

This is actually true. Judy is a sensitive,
beautiful but radiantly “good” little girl.
And certainly, the home she will share
: with her father, as she grows toward
womanhood, is all those things, too.

The End

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Ace of Hearts

( Continued from page 42) he has been
seen with women who belong beyond
studio walls. In foursome with his friends
the Alf Vanderbilts, he has devoted himself
to Gloria McLean. Gloria comes from
New Rochelle. She is the daughter of the
late Ed Hatrick, newspaper executive, and
was the wife of Jock McLean, of the
Hope-diamond-Washington McLeans. *

With Peter branching out into the
world field, there is a widespread confla-
gration of female interest. From points
as distant as Nigeria, agents have been
dispatched to ascertain for women’s pages
his preferences in color, proportions and
performance.

Finally, over lunch in Romanoff’s, he
was prevailed upon by a friend to give his
specifications for his ideal woman.

“Any woman with two heads,” Peter
said simply.

Gloria is not two-headed but she is two-
manned, the friend observed churlishly,
and the other man is Jimmy Stewart.
“Jimmy Stewart is not going to get her.
She’s mine,” cried Peter.

His friend leaped up to phone the scoop
to Louella but a long Lawford leg pitched
him into his omelet.

PETER favors Eastern products now.

He likes them sharp, not stuffy, poised,
intelligent, easy to get on with, not studi-
ously beautiful but natural to the roots of
their hair and corsages.

That’s all he asks, that and two heads.
The deb type ranks with him, possibly
because his first passion was a subdeb
whom he met in his pre-Hollywood days
while wintering in Palm Beach with his
parents, Sir Sydney and Lady Lawford.

Love came late in life to Peter. He was
fourteen. A certain young lady was of the
same ripe age. Up till then his vitality
had been corked down by English tra-
dition. “English boys are not handed the
latchkey until they are tottering toward
twenty-one,” said Peter. “My mother
followed the tradition. It is the only
English tradition she did observe.”

It was the hardest for Peter to bear. He
was all for the American tradition of free-
necking democracy.

This first romantic chapter in the Law-
ford legend came to an end in the spring
of 1939 when the Lawfords left for Cali-
fornia. But Peter had acquired a taste for
romance, and romance rolled.

There is more than meets the eye in
Peter. He’s not standard brand; he’s fire-
brand. Though bom in England, he is
far from being orthodox British. A good
part of his childhood was spent in France.
Until he was five, he spoke only French,
the language of love. Finding he could
get nowhere with mademoiselles because
of the smothering English tradition, he
switched to the language of Shakespeare
in which he was destined to scale heights
and balconies.

While he believes he resembles his
father in appearance, he thinks he has the
temperament of his mother, who is half
French. He is excitable, hot-blooded, re-
sponsive as quicksilver and has the fast
Gallic wit and way with women. He also
has beautiful manners and black moods.

“I have frightening depressions,” he con-
fides. “I have great days, then one like
death. At one o’clock I may be on top of
the world in the sun, then the thing starts
rolling in and by six, I am ready for the
hemlock. Why? I have everything. More
than a man of twenty-five should have.”

A woman would say he needs a wife.
A woman, according to a woman, is man’s
cure-all. The practical female takes small
stock in symptoms of genius. Even when
Peter feels the horrors creeping on him

and leaps in his car to dash for the sea,
drawn by a sense of affinity and belief in
its curative miracle, the babes would say
he was subconsciously seeking a scan of
them in their scanties. Of course, that
might well be part of the curative miracle.

Peter says that were he not compelled
to earn a livelihood, he probably would
be a beachcomber. A cosmopolite who
has lived in London, Paris, Barcelona and
the sophisticate towns gemming the Ri-
viera, he recalls most fondly the black
sands of Tahiti and the warm golden
reaches of Nassau. He eventually will yield
to the convention of marriage, though.

“I give myself just five years more,” he
says, in a hollow tone, looking a little
haggard. You can see that his heart is not
in monogamy, yet.

It is plain that Peter’s dream of matri-
mony is still confused with bachelor bliss.

Peter’s interest in one woman may sim-
mer for as long as a year and then blow
at a word, as when one inamorata said
that if she were compelled to quit America,
she would rather live in Russia than in
England. This, he took, not as an affront
to his birthland, but to common sense.
“She’s not been in England or Russia,” he
said.

HIS distance record in heart interest was
with June Allyson, prior to her mar-
riage to Dick Powell. It was two years be-
fore the seismograph registered a temblor.
Then suddenly, words, words, words, as
Hamlet says. One evil day, when Mr.
Lawford’s ebullience was under a morose
cloud, he offered his unsolicited opinion
that Miss Allyson was going Hollywood.
Miss Allyson in turn vocalized her view
that Mr. Lawford was a silly, egotistical
jerk. The rest was silence and cold bows.

But the Fates in the Front Office, who
have no respect for players’ prides and
sensitive natures, threw them into a clutch
in a picture, “Two Sisters from Boston.”
The tender plant of friendship bloomed
again and has been in full flower since.

Peter receives more letters than any
actor on the lot. The hardheaded Front
Office regards this as an excellent poll of
public opinion. Consequently, stories are
being read with a view to charting Law-
ford into position as a great male star.

With the flexibility of the born actor, he
sweeps from the song-and-dance of “Good
News” and “Easter Parade,” to tenderness
and tragic sensitivity in pictures diverse
as “Little Women,” “The Red Danube.”

It is the fashion now to liken every
young actor to the boy next door. The
sign has been hung on Peter. And with
his breeze and buoyancy, he probably
could play “The Americano” better than
any actor since Doug Fairbanks Sr.

But if Peter is the boy next door, the
boy next door may be Scaramouche or
Raffles or Francois Villor ir— even Hamlet.

Lawford has the elan possessed by no
other young actor today, and by few in the
past, for playing characters of fire and
vibrancy.

A critic boldly declared, along with the
Hollywood princesses, that in the twentv-
year-old acting category, there is only
Peter Lawford.

“What do you mean,” said Peter hotly.
“There is Montgomery Clift and I am his
biggest fan. I wish I could act like Clift.”

He was reminded that Clift had the ad-
vantage of stage technique.

“That’s not it,” Peter said. “He has more
than that. He has this and this,” he touched
his heart and his head. “That is all there
is to great acting, heart and head.”

That, no doubt, is the best definition of
Peter, too.

The End

Confessions of Leo

( Continued from page 59) day whether
John would report for work or report to
Elaine. I miss him. John was the greatest
of them all. Thank goodness, we have two
other wonderful Barrymores, Ethel and
Lionel, still on the pay roll.

I’ll never forget my roar of surprise
when Clark Gable walked on the lot, way
back in 1930. They told me he was to be
the new great lover. In a pig’s eye, said I,
looking at his big ears. I’m a lion who loves
to admit he was wrong, and I was wrong
plus, about this Gable. From the moment
they saw his mug on the screen in “The
Easiest Way,” the women swooned and
the men approved. They still do.

You know I was around when June
Allyson told her producers that she was
in love with Dick Powell. “Don’t marry
him,” they warned her. “It’ll kill your
career.” That’s a joke, sister. Almost from
the day of June’s marriage to Dick, beg
pardon, Richard, her career zoomed into
high gear. And she is, in my opinion, the
best young actress on the screen today.

ONE thing I’ve tried to cure at my studio,
but without success so far, is the
“Queen” system. I do not believe in
monarchies. A throne is a mighty lonely
seat. And the gal who occupies it usually
loses contact with her subjects. Take Nor-
ma Shearer. Ah, what a woman and what
an actress. And what a blunder she made,
and what a pity it had to cost her a throne.
When Norma said she could not see herself
in “Mrs. Miniver,” that she preferred “Her
Cardboard Lover” instead, a great career
faltered. And a new queen, Greer Garson,
was bom.

Greer Garson! There’s a lot of woman.
And she’s been through a lot. But I be-
lieve she’s happier today than at any time
in the ten years I’ve known her. Maybe
because she does not expect so much!
You’ve probably forgotten, but Greer sat
around in Hollywood for one whole year
before the studio finally gave her the
break she’d been screaming for, in “Good-
bye Mr. Chips.” And after “Mrs. Miniver,”
how the studio coddled and protected her!

Came a new queen from over the waters,
Deborah Kerr. I watched Greer suffer as
her throne tottered. I heard her sob in-
wardly, as the best picture properties at
my studio were announced for Debbie, a
very sweet girl, by the way. But glory
be, I have seen Greer come out of her
downward spiral to make a happy levelling
with her career and her private life.

I was one year old when a flashing,
dark haired girl, Lucille Lesueur,
Charlestoned her way into L.B.’s office.
You know her as Joap Crawford. Those
were the very gay twenties. And Joan was
j the gayest of them all. But Joan educated
i herself. She learned to be a great lady as
well as a great actress. I tip my tail to her.

You can’t be smart all the time. But I
was a very angry lion when Deanna Dur-
! bin clicked in “Three Smart Girls” at
Universal. We had her and let her go. It
was a choice between keeping her or
dropping another fourteen - year - older,
Judy Garland. Judy was a fat little but-
terball then. Deanna always had the voice
of an angel. I could have bitten L.B. for
keeping Judy and letting Deanna go. But
. time tells the story. Judy is now a top
■ star. Deanna? Well, I still say, all she
needs is one good picture.

What do yoii flunk of Wally Beery! He’s
still making front page news. And still
making good pictures. Wally was at Metro
almost before I was. He opened the joint,
so to speak. Will you ever forget the
great team-work with Wally and Marie
Dressier? I hope she is happy in her
heaven, because she sure made millions of

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And that reminds me of Jean Harlow.
Where will we ever find another Jean?
Sure, I know we have Lana Turner now,
and she’s good, too. But no one can top
Harlow. When she walked on the screen,
the blaze was so hot it almost scorched
you. When she died, Bill Powell was like
a lost crazed soul. I’m happy that he is
happy now with his cute Diana.

SOMETIMES I run an old film. I like to
compare what we did yesterday with
what we give ’em today. Makes me sad
sometimes, like last week, when I sat all
by myself in the projection room and saw
Jackie Cooper’s great movie, “The Champ,”
with Wally Beery. I cried like a cub.
Partly, because it was such a good picture.
More, because youngsters grow up, and
when they do, they sometimes grow out
of public favor, like Jackie. I read where
his wife has sold their home here and
they will live in the East where he’s do-
ing a stage play.

Mickey Rooney, bless his brash heart,
was eleven years old when I signed him on
the dotted line. This boy was bom acting,
on and off the screen. He has a heart
bigger than his brain. Boy, was he in love
with Ava Gardner! I warned him at the
time that Ava would always be more
interested in a career than in marriage.
And I ought to know, because I’m the guy
who made the boss sign Ava to a contract.

Spangler Arlington Brough! That’s a
funny name all right. But not half as
funny as Robert Taylor looked when we
tested him for a contract way back in 1934.
He was skinny and, someone said, knock-
kneed. I told L.B. to change his name and
change his physique. I’ll say this for
Bob — he worked like a lion to improve
his figure and his acting. Today, he could
still easily win one of those beautiful men
contests — but don’t ever tell him I said
beautiful. He nearly poked me in the puss,
twelve years ago, because he thought I was
responsible for all that drivel over his
gorgeous face and figger.

Van Johnson didn’t mind it half as
much. Maybe because he had a bigger
struggle for recognition. I’ll always be
grateful to Lucille Ball and Billy Grady
who yanked Van off a train back to New
York, almost, after one whole year of dis-
couragement here. We’re smart people

to have signed him after Warners let him
go. Made me feel better about the Deanna
Durbin episode. Van was a mighty worried
boy there for awhile after he married
Evie. But I told him — “Just sit tight — the
public will judge you on your acting
ability.” That’s what is happening now.

It isn’t often that I need or ask for ad-
vice. But I’m still worried about Robert
Walker. I brought him out here from New
York for “Bataan.” I wonder what would
have happened to him if I’d left him there?
Some people believe that he would still be
happily married to Jennifer Jones. Now
Bob is in a sanitarium in the Middle West.

If I look a little wet behind the ears this
bright and beautiful morning, blame it on
Esther Williams. I’ve just had a splash in
her new pool. And pardon me while I take
a bow. How come I was the only one to
see the star behind the swimmer? I first
saw her lovely body in the Billy Rose
Aquacade, but I had a lot to do that week,
so I lost track of Esther. I finally found
her selling swimming suits in Catalina,
making fifty bucks a week. I had to do a
lot of coaxing to convince the girl that
her beautiful talents belonged to the
world.

See this spot on my cheek? It’s where
Elizabeth Taylor kissed me four weeks
ago. Of course I haven’t washed it off.
We’re proud to have Lizzie on our con-
tract list. She’s a real beauty, always was,
even when she was a kid of twelve in
“National Velvet.” A lot of velvet has
flowed under the Taylor bridge since then.

I wish there was more space. I’d like to
talk about Walter Pidgeon — what a sweet
Pidge that is, and Fred Astaire — we gave
him his first movie chance in “Dancing
Lady” with Gable and Crawford. And
Gene Kelly — he’s going to be one of our
big directors, as well as the great star he is.
And Frank Sinatra — such crooning!

I could go on forever. But I just heard
someone bark. Okay, Lassie, okay, I hadn’t
forgotten you. Who could? Even though
you’re a bit of an impostor (pardon my
British slang). What I mean is, you’re
really a man dog, aren’t you? What’s
that? I’m a bit of an impostor, too? So
you know. Well, lions can’t stay young
forever, like certain lady stars and dogs
who shall be nameless. So I’m the fifth Leo
the Lion. Wanna make something of it?

The End

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Gable Fable

( Continued from page 52) fine. It was, in
fact, because he had no time for the gay
social world to which he now adjusts so
handsomely, that he and Carole Lombard
Gable, who, prior to her marriage to Clark,
had been Hollywood’s most brilliant host-
ess, disappeared from the local scene.

Carole loved Clark more than anything
or anyone in the world. Whatever he
wanted, she wanted. So she proceeded, in
her typical enthusiastic and brilliant way,
to make her life over to his pattern.

Not long ago, incidentally, when Dolly
O’Brien Dorelis was visiting in California,
Clark gave a party for her at his ranch. It
never materialized as the gay party he
meant it to be. “Because,” as one frank
friend put it, “Carole was everywhere.”

Not that Clark lives in the past or broods
over it. He is too much of a man to con-
centrate time, thought or energy on any
personal tragedy for any unhealthy period
of time. He came back from his war ser-
vice with a more adult anc cosmopolitan
point of view than he had ever had before.
And he made a good life for himself. But
Carole, unforgettable to her friends, is that
much more unforgettable to Clark who
loved her and was loved by her with a de-
votion that now is a legend.

All of which explains many things, in-
cluding the somewhat sad amusement
those who know Clark feel, when they see
pictures of him dancing or dining with a
new girl, or read that it looks like wedding
bells for him and Anita Colby, Millicent
Rogers, Iris Bynum (who, now about to
marry Colonel David Allerdyce, is finally
out of the running), Virginia Grey or any-
one of a dozen others, with the exception
of Dolly O’Brien Dorelis.

nOLLY will not marry Clark, however.

Although she is very fond of him. She
has her own world. She does not talk
Hollywood jargon, doesn’t care much
about Hollywood, in fact. And I want
to report that she is infinitely more im-
portant than the social butterfly she too
often is pictured. She has real wit. She
loves life and fun and laughter. And her
gift for friendship is great. She is one of
those rare people it is comforting to know,
because even in your most depressed and
cynical moments, you are convinced that
in a pinch you could count on her.

I asked Dolly if she would marry Clark.
“Marriage for us would not work, Elsa,”
she told me. “I could not adjust to being
Mrs. Clark Gable, waiting on street cor-
ners while Clark signed autographs.”

I was reminded of Dolly’s statement
about marriage that day we were at Eden
Roc together. Two little American girls
stepped forward and one said, “Mr. Gable,
would you be kind enough to allow my
friend to photograph you?” To the amuse-
ment of all of us, Clark, who really hates
this sort of thing, stepped up and was
photographed from every angle. And all
the while, he made up outrageously to the
girl who had approached him. He did this
in a semi-humorous attempt to intrigue
Dolly, who only thought it all great fun.

There never was anyone more mascu-
line than Clark. Which accounts for his
irritation last summer when Dolly and I
understood the waiter who spoke in
French and he could not. Which ac-
counts for his need to pack away into
the mountains every so often to hunt or
fish. Which accounts, above all, for his
devastating attraction for women. He

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has none of the charactriestics of a ladies’
man and I am quite sure that none of
the ladies with whom his name has been
linked romantically, ever could say he led
her on or made one false promise. That
isn’t Clark’s way. He’s a casual gent who
lays it on the line.

He’s a man’s man, really. That, I think, is
why he was so eager to do “Comman I
Decision,” and in such good spirits while
he was making it.

When he told me he was going to do
“Command Decision,” I protested. “You
are the great lover of all time, whether
you like that appellation or not. This has
been your success. Why under the sun are
you possessed to make a movie in which no
girl appears?”

“Because, Elsa, it will be a success,” he
said. We had quite an argument about it,
an argument that reminded me once again
of Clark’s dogged, stubborn, Pennsylvania
Dutch forebears.

He was right, of course, and I was wrong.
I admit that in “Command Decision” he is
wonderful. But I still would like the pic-
ture better if there were a girl in it some-
where and he had his arm around her.

I’ve known Clark for many years. It was
in 1933, when I was Gary Cooper’s house
guest, that Clark and I first met. Gary had
rented Greta Garbo’s house in Chevy
Chase and Clark and Rhea, his second
wife, used to come over sometimes in the
evening. The moment they arrived, how-
ever, Rhea would find herself left to the
ladies, while Clark and Gary, a bachelor
in those days, gathered with any other
gentlemen present, and sang barber shop
chords. “Singing Fools” they called
themselves, properly enough. And however
unmusical their efforts turned out to be,
they had the glorious time men always
have when they get together and sing.

Perhaps I took advantage of my long
friendship with Clark, recently, when I
asked him, point blank, “Clark, if you don’t
marry Dolly, who are you going to marry?”

His eyes twinkled. “Who do you think
would marry a bum actor like me?”

He isn’t a bum actor, of course. He’s
learned to be one of the most natural actors
on the screen. That’s another attractive
thing about Clark. He learns fast, per-
sonally, as well as professionally. He’s
come a long way from the attractive Hol-
lywood provincial he used to be, before the
war picked him up and carried him to the
great cities of the world. And before
Dolly O’Brien Dorelis, intrigued by him,
introduced him to social circles to which
he never really aspired, and from whence
he once would have fled.

A most distinguished gentleman these
days, Clark Gable. I wonder who the
lucky girl to marry him will be. I wonder,
too, if there will be another Mrs. Gable.

The End

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Hollywood Clothes Line

( Continued from, page 68) bodice manages
to have a slight V neckline and is tightly
draped right down to the waistline. The
enormous skirt of pink organdy stands
’way out over a much paler taffeta slip.
But the knockout touch is the cascade of
fresh pink camellias which Janet adds to
the dress when she wears it.

We’ve been to lots of parties given by
Joan Crawford, but none gayer than her
most recent. Clark Gable was Joan’s date
that night — but another of her beaus,
Philip Reed, was on hand, too (Greg Baut-
zer was conspicuous by his absence). Joan
had her guest-tables covered with very
dark tablecloths of wine-red, dark green
and navy blue. In the centers of the tables
were big floral pieces composed of white
tulips and white carnations, with three
long, lighted candles rising from the midst
of each. It was an enchanting effect, as
there was no other light in the room. After
dinner, people sat on the floor while Dinah
Shore and Gordon MacRae sang.

A FEW nights after Joan’s lovely soiree,
her chums, Betty Newling and A1
Bloomingdale, threw a party for the visit-
ing Kenneth Friedes. He’s a well-known
publisher and she is the former Natalie
Thompson, once wed to Bob Hutton. How-
ever, this time Joan and Greg Bautzer
were together again, and while he played
poker after dinner with Jane Greer, Mer-
vyn LeRoy and Bill Dozier, Joan just sat
alongside and knitted. Her “knitting cos-
tume” was a beautiful white starched
organza with yards and yards of skirt
gathered to the waist; the bodice very low,
strapless and slightly draped into a heart-
shaped decolletage. The gown was splat-
tered all over with tiny sequins — giving
the effect of having had handfuls of con-
fetti tossed upon it.

And as at Joan’s party, Gordon MacRae
handled the vocals. Later, Van Johnson
rendered “Embraceable You” as Gordon
would do it, with Georgia Carroll, Ann
Miller, Esther Williams and Ann Ruther-
ford joining in on the choruses.

All over Hollywood, the gals are sprout-
ing those hip-length, very full little box
jackets of flannel, gabardine, and sheer
wool which goes so well over daytime
dresses, slacks — or anything short of dressy
clothes. The latest versions have collars
that end in strips that can be tied with a
big bow effect at the neck — and full baggy
sleeves. A double row of shiny buttons
marching down the front gives a loose,
double-breasted effect.

The commanding decision about hair is
no longer whether or not to cut it short —
but how short. Anyone in a longish,
glamour-bob looks like something fresh
out of the backwoods these days and
nights. With the short haircuts, the ear-
ring has become just about a gal’s most
important and eye-catching piece of jew-
elry. One night at a swanky party, we
noted there wasn’t a gal in the room un-
adorned by some jeweled (or reasonable
facsimile) knick-knacks dripping from her
ears. We say “dripping” — because the
drop earrings are by far the most flattering.
At this soiree, guests were asked how
they’d like to see themselves on a magazine
cover — if they had full say about the pose,
costume, and props. So just about every-
one took pencil and paper in hand and
made a rough sketch showing individual
choice. Loretta Young drew herself as Dali
might “interpret” her. Irene Dunne just
attempted a self-portrait with no special
background. Rosalind Russell sketched
herself as a gaily plumed polly-parrot.
And so it went until everyone got rid of
a secret urge, no doubt.

The End

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My Mother Understands

(Continued from page 65) before I was
born, so Mummy never had anyone but me
and I never had anyone but her.

It’s because I’m afraid it’s going to be
different, now, that I cry. We were such a
happy family, just the two of us’.

We had such nice times together. I’ve
never had a nurse or a governess. Mummy
always bathed me, fed me, dressed and
undressed me. fixed my hair. Now that
I’m twelve, I do these things for myself
but Mummy still supervises, is always
right here. And we take turns about
getting breakfast. When I am working
in a picture, Mummy brings me my
breakfast in bed, and when I’m not work-
ing, we play turnabout, and I bring her
breakfast in bed.

IT THE studio too, she always is with me.
it When it’s time to go home, she always
says, “Well, Margaret, would you like to
go home or eat out?” Sometimes, I say I’d
rather eat out, at a hamburger stand. But,
mostly, I say I’d rather go home.

When we get home, Mummy kicks off
her shoes and starts to get dinner. I kick
off my shoes and then I get my radio and
put it on the floor and listen to it while
dinner is cooking. We have a maid who
comes in by the day, but when we get home,
she has gone. When dinner is ready, we
sit on the floor with our plates in our
laps, and eat and listen to the radio. We
are both floor-sitters.

Sometimes, instead of listening to the
radio, we play saleswomen. Mummy is a
cosmetic saleswoman, with cold cream all
over her face, trying to sell me cosmetics.
Or I am a hat saleswoman. I come in wear-
ing her hats, one at a time, trying to sell
her her own hats!

We go to the movies together, which I
love to do, except for the ones I am in.
In the ones I am in, I know how the story
is going to end, so what’s the fun in that?

Every Sunday, we go to the Hitching
Post Theatre, which shows only Westerns.
You go in at one o’clock and you come
out at six and you get your money’s
worth and have a lovely afternoon!

Every time I am in a new picture, I seem
to get a new hobby. For my part in “Tenth
Avenue Angel,” I had to learn to roller
skate just perfectly, and after the picture
was finished, every time we had any time,
we would go to the rink.

In “Little Women,” I play the part of
Beth. I felt friends with her. I even dress
like Beth now. I liked one of the dresses
I wore in the picture so much, Mummy
had twelve copies made for me in different
kinds of material, but all the same style.
Beth loved to play the piano, too, so I
started to take up piano. In the picture,
as in the book, poor little Beth dies, so
someone who knows how I “catch” hobbies
from the characters I play in pictures,
said to me, “I hope you don’t take up
dying!” In “The Secret Garden,” well, if
you have seen it you will know what I
mean when I say that I am now taking
up window box gardening, at home.

Mummy has always shared my hobbies
with me, especially ballet. Because she was
a professional dancer when she was a girl.
I wish I could have seen her dance. Some-
times she will dance for me, around the
apartment, or we’ll both “dress up” and
dance together.

In Palm Beach, where Mummy and Don
got married, Mummy spent all of the day,
that turned out to be their wedding day,
trying to get me to say it would be all right

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if she and Don got married. She said she
didn’t think I realized what a big job I
have been (I guess I didn’t realize it, but
I am beginning to). She said she just
doesn’t feel she can do it alone, anymore.

She said I have never had a father and
although I have never felt the need of one,
she feels I should have a father now that
I am growing up; she said that once I get
used to a father in the house, I will wonder
how I ever got along without one.

She reminded me that when my Aunt
Marissa married Uncle Johnny, I cried
about that, too. “And look,” she said, “how
much you love your Uncle now.” It wasn’t
because I didn’t like Uncle Johnny that
I cried at their wedding, it was because
Aunt Marissa would not belong just to us
anymore. It wasn’t because I didn’t like
Don that I cried at Mummy’s wedding. I
think Don is nice looking, and I like the
way he plays the piano. It was just that I
never have had anybody but my mother
and never wanted anyone else.

The day of the wedding, Mummy said,
“We are going upstairs for a few minutes.”
Then she began to get dressed. She put
on a white linen dress and a white linen
hat. Then she toid me to put on my pret-
tiest white dress. Then we started up-
stairs and almost at the very top step, she
stopped and said, “I think you know what
we are going upstairs for, darling.” But I
didn’t know. If she had had a wedding
dress, I would have known what was going
to happen. But she didn’t have a wedding
dress and I didn’t know until it really hap-
pened. I didn’t know until we were in the
room, and the Judge was there, and Don
was there, and Mummy and Don were
married, and I was crying.

OW I am not as upset about it as I was
at first. And I am trying to be happy
about it. And Don really does understand.

Before Mummy got married, we had
planned a month’s trip to Europe. Don
couldn’t go with us because of his engage-
ment in Palm Springs. But he was very
nice about it, I must say. He told Aunt
Marissa, “I think it just as well I am not
going. I don’t want Margaret or Gladdy to
feel there has been any change at all. I
want it understood that it will be just the
same between Margaret and her mother.”

I guess I am too possessive. When we
went to Europe, I took my radio, a trunk-
ful of dolls and a suitcase full of my
favorite books and I would have taken
Spotty, the little miniature fox-terrier
Mr. Mayer gave me when we finished
“The Secret Garden,” except that she
would have been put in quarantine in
England.

Wherever I am, I like it to look and feel
like home. Mummy says it’s good to love
your family and your things, “but you have
to have room in your heart, Margaret, and
leave the door to the room open.”

When Don and his band finish their
engagement in Palm Springs, we’re all
going to settle down in Hollywood. Don
will take an adjoining apartment. All three
of us will play games after dinner and Don
will give me piano lessons in the evenings.

Mummy says that time passes quickly
and that before she, or I, realize it, I will be
grown up, and wanting to get married. I
said, “When I get married, you will live
with me.” “Oh, no,” she said, in her I-
have-put-my-foot-down voice, “no, I will
not Margaret, no!”

In “The Secret Garden,” almost at the
end of the picture, Mary Lennox is talking
to Colin Craven, who is played by Dean
Stockwell, about a very mysterious prob-
lem his father has had to face, and she
says something like this, “We are too
young to understand, we don’t know
enough yet. . . .”

I suppose you could say that about me.

The End

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Win a Present from a Star

( Continued from page 38)

10. Gruen Wrist Watch Ann Sothern

11. Rima Automatic Spencer Tracy
Self-winding W atch

12. 3 “Little Women” Margaret O’Brien

13. Doll sets by Mme.

14. Alexander of Alex-
ander Doll Co.

15. Spalding Profes- Jimmy Stewart
sional Uniform,

Baseball Shoes and
Pitcher’s Glove

16. Bell and Howell Angela Lansbury
Autoload, Filmo

Camera and Case

17. Autographed Rec- Jeanette

ord Album MacDonald

18. Luggage Peter Lawford

19. Gruen Watch Gene Kelly

20. John-Frederics Hat Audrey Totter

21. Original painting Frank Sinatra

22. Ronson Table Set Deborah Kerr

23. Winchester Gun Clark Gable

24. Two Black Suede Kathryn Grayson

25. Ingber Purses

26. 12 Silk Ties, 12 Bow Jimmy Durante
Ties by Slidewell

27. Keneth Hopkins Cyd Charisse
Hat

28. Lou Foster Burlton Errol Flynn
Gab Snort Jacket

29. Toe Shoes, size 4% Vera-Ellen
worn in “On the

Town”

30. Sterling Silver Keenan Wynn
Adonis Lighter

31. Ceil Chapman Elizabeth Taylor
Gown

32. Lou Foster traveler Red Skelton
outdoor coat

33. Ingber Purse Betty Garrett

34. “Little Women’’ Mary Astor
Dress by Saba of
California

35. Autographed Rec- Jane Powell
ord Album, “Ro-
mance”

36. Puppy Lassie

37. Two Gantner Katharine

Sweaters, size 34 Hepburn

38. Course of Dancing Fred Astaire
Lessons

39. Max Factor’s Holly- Beverly Tyler
wood Vanity Make-
up Set

40. Two Albums — Lauritz Melchior

41. “Lauritz Melchior
Singing”

42. Two Albums — Mu- Ginger Rogers

43. sic from “Barkleys
of Broadway”

44. Two Albums, Gloria De Haven

45. “Great Day for the
Irish”

46. Saks Fifth Ave. Ann Miller
Dancing Shoes worn

in “On the Town”

47. Record Album — Mickey Rooney

“Words and Music”

48. Coro Necklace, Arlene Dahl
Bracelet, Earrings

49. Ronson Gold Pencil George Murphy
Lighter

50. Ronson Lighter Walter Pidgeon
Case Combination

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1. Write or print in the coupon provided
on page 38 — or on a reasonable facsimile
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( Continued, jrom page 31)

V'V' (F) The Stratton Story
(M-G-M)

THIS heart-warming movie, teaming
Jimmy Stewart and June Allyson, is the
real-life story of Monte Stratton, who be-
came pitching ace for the Chicago White
Sox in 1937.

Jimmy is plenty appealing as the shy,
lanky pitcher. June is the cute little gal
he meets on a blind date. After a false
start, their friendship ripens into romance.
Frank Morgan, one-time baseball player
turned hobo, coaches Stewart until he is
ready for the big league. Just as Jimmy
achieves fame in the baseball world, he is
laid low by an accident. However, with
June — and the audience — cheering on the
sidelines, Stewart is bound to come through.

Morgan credibly plays Jimmy’s mentor
while Agnes Moorehead is excellent as his
mother. Such baseball celebrities appear
as Gene Bearden, Jimmy Dykes and Bill
Dickey with Stratton himself serving as
technical advisor.

Your Reviewer Says: It’s a homer!

V (A) Too Late for Tears
(Stromberg-UA)

CREED is a terrible thing. Look what it
does to Lizabeth Scott and Dan Duryea.
Liz, a heartless money-mad wench, is
married to nice Arthur Kennedy One
night, while driving in their roadster, a
bagful of money is tossed into their laps.
Obviously, they were mistaken for some-
one else. Arthur intends to turn over the
money to the police, but Liz pleads with
him to hide it, at least temporarily. Next
day, Duryea visits Liz and demands his
dough or else . . . But Liz isn’t giving it up
without a struggle, even if she has to kill
to keep it. Kennedy’s sister, Kristine Mil-
ler, suspicious over his sudden disappear-
ance, starts snooping with Dan DeFore’s
help. The final score is one death by
shooting and drowning, another by poison
and a third by a plunge from a window.

Husky-voiced Lizabeth Scott delivers a
good job as a bad girl. Duryea is con-
vincingly crooked.

Your Reviewer Says: Cupid packs a gun.

kV'' (F) Tulsa ( Wanger-Eagle Lion)

IUCKY Susan Hayward! The tempestu-
1 ous redhead has three men in her life,
all slightly terrific, in this two-fisted,
sprawling saga of boom town oil days.

There’s Robert Preston who is up on his
geology, but has yet to learn about a gal
like Suzy. Also in the running is her de-
voted Indian friend, Pedro Armendariz.
Then there’s big-shot Lloyd Gough on
whose property Susan’s father was acci-
dentally killed. Beginning in a small way,
she reaches the point where she’s a real
threat to Gough’s oil empire. Success
changes her into an overambitious woman,
and it takes a major catastrophe to bring
Susan to her senses again.

Chill Wills scores in the humor depart-
ment. Preston and Armendariz, usually
cast as villains, are exemplary characters
for once. Even Gough is likable.

Your Reviewer Says: Jam-packed with thrills.

V' (F) Bride of Vengeance
(Paramount)

A LITTLE history and a lot of make-
believe go into this elaborate melo-
drama of sixteenth century Italy.

As the infamous Lucretia Borgia, Paul-
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woman. Her brother is the treacherous
Cesare of Rome. As played by Macdonald
Carey, he is a repulsively evil fellow who
has his eye on an independent duchy ruled
by the Duke of Ferrara. Effectively por-
trayed by John Lund, the duke is nobody’s
fool and doesn’t intend to be caught nap-
ping. It’s a three-cornered duel of wits, re-
plete with love, hate and revenge. For all
its eye appeal, however, the story seldom
comes to life.

Paulette looks seductive, but it’s hard to
believe she delights in poisoning people.
Especially such a handsome guy as Lund!

Your Reviewer Says: Big-scale costume
drama.

// (A) City Across the River
( U ni versal-International )

JUVENILE Crime is the subject of an en-
grossing, hard-hitting movie with Drew
Pearson serving as commentator.

The action centers upon a gang of
Brooklyn teen-agers known as “The Dukes”
who pride themselves on their toughness.
Stephen McNally, community center direc-
tor, tries to steer Peter Fernandez away
from the bad influence of these hoodlums,
but the boy and his pal, A1 Ramsen, prefer
the poolroom to the classroom. They get
into a fight with their teacher who is shot
in the struggle. That’s when detective Jeff
Corey steps into the picture.

Joshua Shelley stands out as a weak-
minded, knife-wielding member of the
gang. Thelma Ritter is Peter’s work-worn
mother, Luis Van Rooten his worried
father, Sharon McManus his scared sister
and Sue England his pretty girl friend.

Your Reviewer Says: Gripping slum story.

k' (F) Impact (Popkim-UA)

DECEIT is the keynote of an entertaining
triangle tale with homicidal overtones.
Brian Donlevy — a trusting husband and
a millionaire yet! — adores his beautiful but
wicked wife, Helen Walker. Helen clan-
destinely carries on an affair with Tony
Barrett. The two conspire to kill her mate,
but their plan backfires and it’s Tony who
meets a violent death. Donlevy, poor chap,
is so shocked at discovering what his
spouse has been up to, that he decides to
remain “dead.” So he hides out in a two-
by-four town where he meets repair shop
owner Ella Raines. Brian mends her cars
and she mends his heart.

Donlevy appears dazed and unhappy;

I Helen cuts a dashing figure; Ella is sym-
pathetic and Charles Coburn is a capable
detective.

Your Reviewer Says: Domestic double-play.

k' (F) Adventure in Baltimore
(RKO)

SUCH mischief as Shirley Temple gets
into in this movie! Set in Baltimore of
1905, the homey story revolves around
Shirley, her minister-father, Robert Young,

|| and her fine-looking neighbor, John Agar.
Alternately bold and contrite, Shirl’s
unconventional behavior involves her in
one girlish scrape after another. Young
displays great forbearance when she is ex-
pelled from school. He encourages her to
become a painter but vestryman Albert
Sharpe fears it will interfere with Young’s
election to a bishop’s post. As Young tells
his wife, Josephine Hutchinson, it’s all a
tempest in a teapot.

Although there’s a maximum of talk and
j a minimum of drama, flashes of humor and
, warmth come through. A sequence in
which John Agar squirms his way through
Shirks speech on women’s rights reveals
him as a promising comedian.

Your Reviewer Says: Chuckles and tears.

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VV (F) Manhandled (Paramount)

HERE’S a pulse-quickening murder mel-
ler designed to keep you glued to your
seat. Dorothy Lamour is well cast as a
pretty secretary trying to make an honest
living if only Dan Duryea will let her!
Once again, Duryea plays a scoundrel
who can woo a woman and commit a
crime with equal facility. It’s when he tries
to frame Dotty that he outsmarts himself.

Husky Sterling Hayden shows up as an
alert insurance agent, always a step ahead
of detective Art Smith. Irene Hervey is
mighty attractive as the wealthy, two-
timing wife of writer Alan Napier. When
Irene is murdered and robbed, things begin
to pop. Dotty’s psychiatrist-employer,
Harold Vermilyea, is also involved, along
with man-about-town Philip Reed.

A fast-moving whodunit with smooth
performances all around.

Your Reviewer Says: Plenty of suspense.

^ (F) The Undercover Man
(Columbia)

MOVE over, Dennis O’Keefe and Dick
Powell! Glenn Ford is stealing your
stuff. The role of treasury agent is a new
one for Glenn and, while he handles it
well enough, his talents are better suited
to a brisk comedy like “The Return of
October.”

Along with two other agents, James
Whitmore and David Wolfe, Glenn seeks
proof of income tax evasions on the part
of a prominent underworld character.
Though guilty of much more than tax eva-
sion, the man’s power is so far-reaching
that he has managed to escape arrest. His
clever mouthpiece, Barry Kelley, sees to
that, giving Glenn, his co-workers and
police inspector, Frank Tweddell, a run for
their money. Fed up with his job, Ford
finally decides to quit. Why shouldn’t he
lead a normal life with his lovely, patient
wife, Nina Foch? But Fate intercedes.

Joan Lazer, Esther Minciotti and An-
thony Caruso appear to advantage in this
movie of mobsters and T-men.

Your Reviewer Says: Interesting game of
hide and seek.

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k' (F) Arctic Manhunt
(Universal-International)

HfHAT could be more ironical than to be
marooned on a floe, drifting out to
open sea, with a quarter of a million dol-
lars? No wonder Mikel Conrad is in a cold
sweat! But since there’s no question of his
guilt, you can’t feel too sorry for him.

After serving a seven-year prison term
for his part in a holdup, Conrad leaves for
the Far North to split the money with his
accomplice. Insurance agents Harry Har-
vey and Russ Conway are hot on his trail.

Filmed in the Arctic, there are some in-
teresting Eskimo rituals. An adequate cast
includes Carol Thurston and Wally Cassell.

Your Reviewer Says: Adventure on ice.

V (F) Outpost in Morocco
(Bischoff-UA)

THE French Foreign Legion has a valu-
able man in Captain George Raft. But
it’s his reputation as a Don Juan, rather
than as a military man, which makes him
eligible for a delicate assignment.

Raft is to head a convoy, escorting the
French-educated daughter of the Emir of
Bel-Rashad to her father’s palace. Since
she is Marie Windsor, an exotic beauty,
it’s a pleasure. Suspecting the Arabs of
stirring up trouble, Raft’s colonel, John
Litel, orders him to find out what he can.
Sure enough, the old Emir is rarin’ to go
against the French, and Raft has all he can
do to escape and summon reinforcements.

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Marie, meanwhile, is torn between loyalty
to her people and love for Raft.

It’s a picturesque, swift-moving action
film with plenty of hard riding, shooting
and love-making. Akim Tamiroff, Eduard
Franz and Damian O’Flynn are in it.

Your Reviewer Says: Good desert drama.

✓ (A) The Set-Up (RKO)

THE ugly aspects of the fight game are
forcefully brought home in this movie.
Robert Ryan turns in a noteworthy job
as a small-time prizefighter, trying to make
a come-back at thirty-five. Audrey Tot-
ter invites deep sympathy as his disillu-
sioned, despairing wife. She begs him to
quit the ring but her pleas fall on deaf ears.
Ryan doesn’t know that his double-cross-
ing manager, George Tobias, has fixed
the fight on orders from racketeer Alan
Baxter. Thus, even if — by some miracle —
Ryan wins, he still loses because Baxter
wants it that way.

You get to meet as motley an assortment
of characters as ever appeared in one pic-
ture— crooks, drifters, hangers-on, gam-
blers. By the time the last savage punch is
delivered, it’s well established that prize-
fighting, as depicted here, is an extremely
sordid business.

Your Reviewer Says: Bloody and brutal.

V (F) The Younger Brothers
(Warners-First National)

(1RAB a gun and join the chase! The
I notorious Younger Brothers are on the
loose. As portrayed by Wayne Morris,
Bruce Bennett, Robert Hutton and James
Brown, they’re really not such a bad sort.
All they ask is to keep out of trouble for
a couple of weeks. Then they will be
granted pardons and can retire to dirt
farming in their native Missouri. Bruce
has a girl, Geraldine Brooks, waiting to
marry him.

But alas, the righteous citizens of Cedar
Creek, led by vengeful ex-detective Fred
Clark, keep hounding the Youngers.
Then, too, there’s Janis Paige who wants
Wayne and his brothers to join her outlaw
outfit, and won’t take no for an answer.
It’s a tug of war with Janis and Clark on
one side and the brothers on the other.

Your Reviewer Says: Rip-snortin’ six-
shooter.

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Mr. Belvedere Goes to College
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The Story of the M-G-M
Studios

( Continued, from page 51) Dean Stock-
well, but it is to be doubted if their his-
tories, when written, can possibly be more
colorful than the vivid pioneers of 1924.

The other five stars, besides Miss Gish,
on that glamorous 1924 occasion were Mae
Murray, John Gilbert, Lon Chaney, Ramon
Navarro and Antonio Moreno.

Moreno and Navarro are still wealthy.
Probably, had they lived, Jack Gilbert and
Lon Chaney would have been rich, too.
But Jack was to die, after being involved
in the love affair which was the greatest
box office bonanza Hollywood has ever
known. The love stories of Vivien Leigh
and Laurence Olivier, of Clark Gable and
Carole Lombard, of Bogey and Baby, pale
out when you compare them to the in-
candescence that was the love of Gilbert
and Garbo.

M-G-M has a short coming out this
summer called “Some of the Best.” It is
composed of fascinating bits from M-G-M’s
hit pictures over these twenty-five years.
But were they dull as pewter, the whole
short would be luminous merely for those
glimpses of Jack Gilbert with Garbo.

AND you must know about Chaney, too —
Chaney, who was called a man of mys-
tery. Lon was the butt of a thousand gags.
“Don’t step on it, it might be Lon Chaney,”
people said to one another in 1927. He was
“the man of a thousand faces”; he was “the
horror man,” more frightening than Kar-
loff, Lugosi or Lorre. He was also a fine
actor, but nobody thought about that until
he made “Tell It to the Marines,” and then
the production got stolen from him by a
fresh-faced kid named William Haines,
who is now one of the great interior deco-
rators, not alone of Hollywood, but of
America.

It was “the boy genius,” Irving Thal-
berg, whom Louis B. Mayer had hired
from Universal to be his assistant at
M-G-M, who had given Chaney his pre-
vious greatest opportunity in “The Hunch-
back of Notre Dame,” and thus it seemed
like a good omen that the new firm’s best
film of 1924 starred Lon. It was called
“He Who Gets Slapped.” There was a
thirteen-year-old girl who played the
adult love interest in “He Who Gets
Slapped” — Loretta Young. Also playing
their best roles to date in this production
were two very handsome young people,
John Gilbert and Norma Shearer.

Yet, probably, it was Mae Murray who
most clearly forecast the Hollywood that
was to be. Mae, in 1924, was queen of the
lot. Mae was a high priestess of tempera-
ment. She was really beautiful, with her
fine legs, her small, very sexy figure, her
“bee-stung lips,” and her eyes that were
so palely blue, all the men who played
opposite her had to wear black shirts and
all the lights had to be shrouded. John
Gilbert was her leading man for “The
Merry Widow,” which was the M-G-M
smash hit of 1925. Erich Von Stroheim,
now on the Paramount lot about to begin
“Sunset Boulevard,” was the equally tem-
peramental director.

Mae had the backing of Marcus Loew,
the original backer of Metro. Loew was
eternally grateful to Mae because once,
when he was very short of funds, she had
made a couple of pictures for him very
cheaply, out of sheer good-heartedness.

They had been big hits, and he had been
restored to prosperity. His orders were
that anything Miss Murray desired at
M-G-M should be given her. She had the
biggest jewels, gave the most lavish parties,
and drove the largest cars.

When she became the Princess David

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Mdivani, such grandeur made Hollywood
gasp so that Pola Negri had to become a
Princess Mdivani, too, marrying Mae’s
brother-in-law, Sergei. Pickfair, the so-
cial citadel, began going in for nothing
less than Dukes. Gloria Swanson became
the Marquise de la Falaise et de la Cou-
dray, which Connie Bennett later became
by marrying the same gentleman. It was
tiara time on the Pacific Coast.

GARBO never wanted any part of that.

The ex-barber’s assistant came to
Hollywood with Mauritz Stiller. Theirs
was a definite Trilby-Svengali relationship,
a real slave-master bond.

The release of the first Garbo picture,
“The Torrent,” reversed that. Ricardo Cor-
tez was supposed to be the star but Garbo
swept the film world with a blaze of ex-
citement that was not equaled again until
Jean Harlow appeared in “Hell’s Angels.”
Stiller, meanwhile, directed a couple of
films that turned out to be flops. He lin-
gered around Hollywood for a while, then
returned, unnoticed, to Sweden, a broken
man. Months before 1927 when their co-
starring vehicle, “The Flesh and the
Devil,” was released, John Gilbert had
fallen madly in love with this girl whom
he called “Flicka.” “Flicka” is simply
Swedish for girl, and not necessarily the
name of a horse, as today’s moviegoers
may believe.

Jack Gilbert was accustomed to having
women in love with him. There had been
scores before Garbo, including his wife,
Leatrice Joy, and scores after. The dif-
ference with Gai'bo was that he was the
one in love. One thing that drove him
nearly out of his mind was that she was
merely amused by his idea of their marry-
ing, particularly since the romance that
they put on screen was no more torrid
than that which they experienced off
screen. When sound came, dethroning him
and raising Garbo to greater heights in
“Anna Christie,” he plunged into a brief
marriage with Ina Claire, and later, a
slightly longer marriage with Virginia
Bruce. The story of Garbo’s bringing him
back for “Queen Christina,” has been many
times told. There is one facet of it, how-
ever, that hasn’t been.

This is it. No other power but Garbo
could have brought Jack back on the
M-G-M lot. Was it kindness that made
her do it? Or a final whisper of romance?
Or, perhaps, the nagging of a guilty con-
science? Whatever caused it, she had the
authority to make the bosses respond to
her will. But here is the irony of it.

The picture hadn’t been shooting three

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days before Gilbert was giving everybody
orders. He knew nothing about sound
technique. He had no ability whatsoever
to read lines. But he told the director how
to direct. He told Greta how to act. And
she took it. Knowing his nonsense was
dooming the picture to failure, she did not
reprove him. To the very end, she let him
believe that he was as great as he once
had been.

The Shearer-Thalberg story had none of
these pyrotechnics, but it, too, was the story
of a man deeply in love with a beautiful
woman. That love influenced the course
of the great M-G-M studio to further
heights. And when it ended, through
Thalberg’s death in 1936, it gave a blow
to M-G-M’s prestige and forward-mind-
edness from which it took them years to
recover. But before we get into that, two
other stories of two other amazing person-
alities must be told. The colorful histories
of Ramon Navarro and Marion Davies.

“The Four Horsemen of the Apocalypse”
was the super hit of 1921. No sooner had it
clicked, than Valentino, its star, quarreled
with Rex Ingram, its director-producer.
They were both fiery men. Angrily, Ingram
said he could pick up any extra boy and
make just as great a star of him as Valen-
tino could ever think of being.

ACCORDINGLY, he picked Ramon Na-
varro. Navarro actually had no acting
experience, though he had been a profes-
sional dancer. He was a Mexican boy of
incredible beauty, and of equally incred-
ible spirituality. He lived in Hollywood,
entirely surrounded by his big Mexican
family, adored and adoring. He was so
devout, so pure in heart.

In vain, after his stardom, various peo-
ple urged him to “go Hollywood.” Rudy
Valentino, who died in August, 1926, after
his hectic wedding and parting from the
exotic Natacha Rambova, and after a
mad love affair with Pola Negri, was al-
ways the sophisticate. But Ramon never
swerved from his life of simplicity and
sweetness. Like John Gilbert and Billy
Haines, it was the advent of sound pic-
tures which killed him as a star. He
didn’t die out overnight, as Jack did, but,
again like Billy, he never proved right in
spoken dialogue.

The sadness of the whole thing for all
three of these men is that with today’s
recording, their voices could have been
“mixed” in any manner that was needed,
and M-G-M would have made extra mil-
lions. A1 Jolson, these days when people
say his voice is good as it ever was, re-
torts by saying, “It’s better than it ever
was because of modern sound recording.”
Which is a witty crack on Al’s part, and
it is also perfectly true.

Marion Davies didn’t survive sound very
long, either, again for the same reasons.
Everybody regretted that, because every-
one in Hollywood loved her.

Marion’s dressing-room on the lot was
really a major-sized house, with drawing
room, and a dining room capable of seating
twenty persons, and there she entertained
everyone, indiscriminately. Noblemen,
famous authors and artists mingled there
at lunch with electricians and carpenters.
It made no difference to Marion who any-
one was. She loved people, and there was
no snobbery in her great, generous heart.

Thus it was that one day, a minor em-
ployee of M-G-M came to her, bringing
several small diamond rings, asking Mar-
ion if she would consent to lend some
money on them. “But whose are these?”
Marion asked, “and what’s the money
needed for?”

That’s when she discovered the rings
belonged to Renee Adoree who had flashed
to stardom in 1925 in “The Big Parade” and
that Renee, who had lived so completely
and too generously — too generous with

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time, money and emotions alike — was
slowly dying. Marion had the rings returned
to Renee. Then, without Marion’s name ever
being used, wonderful things began hap-
pening to the sick girl. The mortgage on
her house was paid. A house in Arizona, a
perfect climate for anyone afflicted as
Renee was, turned out to be untenanted.
Not only was the Prescott house for rent,
but somehow, it was decorated in just the
colors Renee loved most, with just the
type of chairs she thought comfortable.

Finally, when the inevitable end came,
all Renee's funeral bills were paid, and
Renee’s mother found herself provided
with an income. There are many stories
told about “heartless” Hollywood. Re-
member this one about Marion Davies, by
way of contrast. There was just one per-
son Marion didn’t love. This was Norma
Shearer. Shearer was beautiful. She
could act. Marion was never intensely
ambitious. But Norma was — and she
topped all the other girls in being mar-
ried to Irving Thalberg.

Irving had everything, sensitivity, drive,
good taste, the ability to make a fortune.
So they made a practically invincible pair.

The story of their first date together is
typical of them. It was Louis B. Mayer who
originally discovered Norma, a model pos-
ing for a tire ad. It was Mr. Mayer who
brought her to M-G-M, just as he brought
Thalberg. Irving and Norma met for the
first time at the studio, but in the begin-
ning they were both so career-minded,
they dodged romance.

ONE night, Irving felt lonely, like any
normal young man. He said to his sec-
retary, “Call Miss Shearer and ask her if
she will have dinner with me.” The
secretary did so. Said Miss Shearer, “Ask
Mr. Thalberg if he has ever heard of
Priscilla and John Alden?” Irving took
the hint. He called her himself. He was
told Miss Shearer was out. He called,
personally, the next day. Miss Shearer
was in. They made a date and on it dis-
covered they responded to the same ideas
and ideals.

They didn’t want to fall in love and mar-
ry. They were afraid that it might halt
their triumphant upward climb. But they
couldn’t help it.

Let us consider for a moment what was
happening behind the screen at this time.
Warners had backed sound fully. They
had tried it out first in “Don Juan.” Then
they burst forth with some very highbrow
musical shots, featuring such operatic per-
sonalities as Martinelli. But it wasn’t
“The Singing Fool,” as they would like
you to believe, that was the first big mu-
sical smash in this new medium. The musi-
cal that really set Hollywood on its ear
was “The Broadway Melody.” It was Irving
Thalberg who made it for a 1929 release. It
cost $300,000, which was quite a lot at that
time, though peanuts today. It earned two-
and-a-half millions, which hasn’t been
peanuts ever.

Yet, actually, Irving wasn’t interested
in making musicals. Louis B. Mayer cared
much more for them. So they turned the
making of musicals over to Hunt Strom-
berg, and he it was, with Woody Van Dyke
directing', who stumbled over a gold mine
in “Naughty Marietta” in 1935, starring
Jeanette MacDonald and Nelson Eddy. But
that is getting ahead of our story.

Norma Shearer made the transition be-
tween silents and sound with no difficulty
whatsoever, which was pretty amazing,
considering that she had no stage back-
ground. When Noel Coward was the big
playwright, Miss Shearer got Coward’s
“Private Lives” for her co-starring vehicle
with Robert Montgomery.

Joan Crawford discovered Clark Gable,
she actually did, and this I shall explain
to you presently. His first big click was in

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1931 in her picture, “Dance Fools, Dance,”
but it was Shearer who then grabbed him,
for her “A Free Soul.”

The last great Thalberg-Shearer pro-
duction, “Marie Antoinette,” was not quite
finished in 1936, when Irving died. Norma
carried it on, however, to the end, gal-
lantly. Opposite her was a boy, who
parked before the M-G-M studio the first
night the posters on the film went up,
showing his name in co-starring position
for the first time. He wept with joy.
That was Tyrone Power.

Norma Thalberg was left a very wealthy
widow, with two children. Soon, she
wanted to be in love again, and for a little
while she was in love with two very dif-
ferent types of men, Jimmy Stewart and
George Raft. Almost every actress who
has ever met him has had a little spell of
being in love with Jimmy, and he was very
jroung and handsome, back there in 1937.

Then, in 1942, Norma became Mrs. Marty
Arrouge, the wife of a skiing instructor
and their marriage has been completely
ideal. Because she is still ravishingly beau-
tiful, and what is more rare in Hollywood,
a visibly happy woman, Norma has had
many offers to return to the screen. Per-
sonally, I doubt that she ever does.

NY studio lot becomes like an enormous
family, but no lot as much so as
M-G-M. This mood is largely due to
Louis B. Mayer, who has always regarded
his employees as his children. Like any
real parent, Mr. Mayer loves some young-
sters more than others, but there was one
young man who annoyed him so, he prac-
tically had him shot on sight. And there
was another, a beat-up old character ac-
tress whom one of his pet writers talked
him into signing.

When that actress’s first M-G-M film
was made, the whole studio thought it was
so awful it would have to be shelved. The
picture was “The Callahans and the Mur-
phys.” The woman was Marie Dressier.
Both the film and Marie made a fortune.

With “Min and Bill,” Marie got an Acad-
emy Award and brought Wally Beery to
top stardom. With “Emma,” by the device
of showing her in a scene where she sat
perfectly still but wore no exotic make-
up, she brought Myrna Loy into consider-
ation for straight leading roles after too
many exotics had nearly killed her.

She was old and plain, Marie Dressier!
But she was a trouper and her generosity
knew no bounds. I could tell you a thou-
sand wonderful stories about her but this
one told by Frances Marion, the writer
who originally sold Louis B. Mayer on her,
is, I think, the most revealing.

Marie had been practically down and
out, when she got that call from M-G-M.
All that kept a roof over her head and
food on the table was her Negro maid,
Hazel, who had served her during the
height of her fame as a musical comedy
star on Broadway. Marie and Hazel came
West together.

But Marie repaid Hazel with love and
the excitement of that final blaze of suc-
cess. When cancer took the star from the
spotlight and from life, her will showed
that she had left all her estate to this most
loyal friend.

By the time the thirties had come, M-
G-M was established as definitely the lot.
There was a gag around Hollywood that
when you signed an M-G-M contract they
guaranteed you an Oscar. And, certainly,
the Oscars did hit over there, like rain in
the tropics, but every one of them was
deserved.

By today’s standards, it is amazing to
realize how rapidly M-G-M made pic-
tures then, even the best pictures. Clark
r Gable made eleven pictures in one year.
Robert Young made twelve pictures his
first year, but not Robert Montgomery, the

young man who got so thoroughly on Mr.
Louis B. Mayer’s nerves.

Mr. Mayer’s nerves were no exception.
Mr. Montgomery got on everybody’s
nerves. The trouble was that Mr. Mont-
gomery thought he could do anything. The
horrible part of young Bob was that he
could do everything.

For instance, when they were shooting
his first picture, “So This Is College,” they
hired a couple of football stars to kick a
ball over the goal-post for a climax. Nat-
urally, it was Mr. Montgomery who was
supposed to be doing the actual kicking.
So what did the lad say about it? He
said, “Why don’t I do the actual kicking?”

Sam Wood, the director, gave him a
withering look. “In this gale?” he said.

The football stars tried to buck the gale
all day. They couldn’t. Finally, as the light
was failing, and Wood was saying there
was no hope but to shut down and return
to the shot next morning, Bob suggested
once more that he try to complete the
kick. Wood, ready to laugh, told him to go
ahead. So Bob sailed the ball over the
goal-post.

There was another time, in another
picture, when they were shooting a water-
skiing scene. Bob had never water-skiied,
but said he was sure he could.

The routine was just the same. They said
he couldn’t, so he did, perfectly.

Thus it was, after hitting big in com-
edies, like “Private Lives,” when Bob said
he was a serious actor and should play
deep drama like “Night Must Fall,” they
finally agreed, undoubtedly all secretly
hoping he’d flop.

SO, OF course, he didn’t, but the payoff
on the whole thing is that in the thirties
he was regarded as a radical because he
was one of the ring leaders in the
organization of The Screen Actors Guild;
then he was called a hero because he
drove an ambulance in France, long be-
fore we got into the war; then during
the war, after his distinguished service
with our Navy, they called him a moss-
backed conservative because he headed
the Hollywood Willkie campaign.

Now, at reluctant last, they have come
to appreciate his value, as a director, a
producer and a star, who is just as in-
dependent-minded as ever.

Gable was never like that, nor Tracy,
either. The Gable contract came about be-
cause they had to have a distinctive type
to play opposite Joan Crawford in “Dance,
Fools, Dance.”

Clark was still Mr. Nobody, his most
recent movie job a small, mean role in
“Night Nurse,” a Barbara Stanwyck pic-
ture at Warners. His agent brought him
over to M-G-M, and as he walked on the

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set, Joan had her back to him. Yet, eye
witnesses swear she swung around, on a
kind of instinct and said, “Sign him, im-
mediately.” You know, of course, how
right she was. Even before her film was
released, M-G-M had him out in “The
Easiest Way.”

No story of Metro would be complete
without mention of Jean Harlow, who died
of uremic poisoning in 1937.

Jean was loved by everyone who ever
met her. But despite her three marriages,
she never was deeply in love until that last
time, when she was in love with Bill
Powell but didn’t get married, which
nearly broke her heart. What Jean pos-
sessed was a figure that only Esther Wil-
liams could rival. She, herself, had such a
naive appreciation of it, and its effect on
people, that rarely, indeed, did she wear
anything but shoes and a dress.

I IKE Lana Turner, Jean put her career
second in importance. She loved life.
Her first marriage had been when she
was in her teens.

Her second, to Paul Bern, was because
she loved the idea of being the wife of
an important M-G-M executive. When
Bern, a sensitive, intelligent but tortured
man, committed suicide, she stood up
bravely under the initial insinuations that
it might have been murder.

Her third marriage was with cameraman
Hal Rosson, and probably because she
wanted to get away from her mother’s
home and into a home of her own, again.

Her own death could probably have
been prevented, if anybody could have
made her go to a doctor early enough.

And, of course, there are MacDonald
and Eddy, who with “Naughty Marietta”
scored the success that M-G-M had been
seeking, previously, with Lawrence Tib-
bett and Grace Moore. The public wanted
MacDonald and Eddy to marry, after that
initial click. But Jeanette married Gene
Raymond and Nelson married the ex-Mrs.
Sidney Franklin. Sidney Franklin, who is
still at M-G-M, is the producer of “The
Yearling.”

Well, those are the histories of the
initial group of M-G-M stars, except for
Tracy, about whom there is so little to
tell. Spence doesn’t change. He has al-
ways been a fine actor, who lives very
quietly, and who doesn’t talk at all.

As for the new Metro stars there’s little
madcap Lana Turner— and we don’t need
to tell you what an asset she is to her
studios because of her box office appeal.
There’s Bob Taylor. “All he needs is the
right picture,” they say at M-G-M. Ava
Gardner? She possesses both the beauty
and the brains, certainly. Peter Lawford?
He doesn’t quite make the stardom grade,
for no reason that anybody can figure.
Sinatra? It looks as if it’s over. Judy
Garland? There’s another one they all
love. If her health can be fully restored,
she’ll be right on top again.

Janie Powell, Elizabeth Taylor, Janet
Leigh are all too young as yet to hi,yj
any “past.” Definitely, they’ve all got
futures. But do you know who one of the
biggest M-G-M big shots is banking on
most? Dean Stockwell. Clarence Brown
says of him, “He is the greatest actor on
the screen.” I say, “You mean kid actor.”
Clarence says, “I do not. I mean any
actor.” i !

Louis B. Mayer says, “I love them all,
and believe in them all.”

He really does, and thus with Clark
Gable at the head of the list and little
Dean Stockwell at the bottom, and with
Lassie in between, you know with Mr. .
Mayer in charge of production, that
M-G-M is heading into a second twenty-
five years of super-production.

The End

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